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Album review: Red Kate – When The Troubles Come

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I had a conversation with a friend the other night over drinks. The majority of the talk is unimportant, but the meat of it was how much we miss rock ‘n roll. I, like my musician friend, have grown weary of bearded bands trading in their amps and Telecasters for banjos, washboards, and glockenspiel. What boat did I miss here? 
 
Legendary folk singer Pete Seeger posed the question, “Where have all the flowers gone?”. I say, “To hell with the flowers. Where’s the riffs?”
 
Well, I have discovered some of the sadly endangered rock ‘n roll species on Red Kate’s When the Troubles Come. The Kansas City-based band (L. Ron Drunkard, Desmond Poirier, Brad Huhmann, and Andrew Whelan. Original guitarist Scot Squatch, who appears on a few of the album’s tracks, left Red Kate while recording Troubles) has laid down a superb LP packed with ‘70s rock aggression. The band’s one-two punch guitar work of Desmond Poirier and Brad Huhmann should make Angus Young and Marc Bolan fans very, very happy.
 
Red Kate indeed mines the 1970s for gold but stays clear of the cheese that marred the latter part of the decade. Red Kate plays big and aggressive but at the same time is more than capable of producing songs with great pop sensibilities (“Pink Sweater”). Have no fear, my friends; the schmaltz of bands like Boston and Foreigner are nowhere near Red Kate’s sound—thank god. Think more Stranglers and The Saints than STYX and Kansas.
 
Extolling the virtues of standing up for something and questioning the motives of the government, Troubles is chock full of calls to actions under the cover of rock ‘n roll. On the exceptional lead off track “Union Voice,” Drunkard cries out: “The boss is not your friend / now it’s time to make a choice / stand up and raise your voice.” In “Hypnotized,” he snarls: “I won’t pledge allegiance to the flag or company / there ain’t no way in hell you’re gonna pacify me.”
 
Too few bands put their beliefs out there for the entire world to see, and even fewer still are capable of doing so while kicking ass. Troubles is what rock and punk used to be before being invaded by Creed worshippers and Hot Topic. Red Kate brings a message without being heavy handed, self-important, or preachy. The band does not tell the listener to overthrow the government or become a radical anarchist. What it does is plant a seed of curiosity, of standing up for what you believe in and for being an individual.
 
When The Troubles Come is passionate record made by people who clearly believe in the words they’ve laid in wax. It is a record for people who believe that it is their right as humans to stand up for something, to question the beliefs put upon them by church and the state, to demand answers to their questions, and to do so while rockin’ like their heads are on fire.
  
When The Troubles Come was recorded and engineered at Weights and Measures Soundlab by Duane Trower. It was mixed by Trower and L. Ron Drunkard, digitally mastered by Trower, vinyl mastered at Sae Mastering (Phoenix) by Roger Seibel. Released by Replay Records.
 
 
Red Kate’s KC album release party will be at Davey’s Uptown this Friday, August 23. The Bad Ideas kick the show off at 9 pm, followed by Steady States, The Quivers, and topped off by Red Kate. Sure to be a loud, rowdy, boisterous evening. Facebook event page.
 
 
–Danny R. Phillips

 

Danny R. Phillips has been reporting on music of all types and covering the St. Joseph, MO 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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Artists on Trial: Nikki and the Rooftop Punch

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(Photo by Bittersweet Symphony Productions)
 
It seems like everyone wants to start a side project at some point. When a frontperson does it, the music usually sounds a whole lot like his/her band. Which is great, if you want to hear more of that. But every once in awhile, a combination of creativity erupts into a completely different style. Nikki and the Rooftop Punch—the brand-new duo of Nicole Springer and Tim Jenkins of The Clementines—is plain and simple stripped-down garage rock, in the best possible way. Jenkins electrifies his guitar sound with catchy, bluesy riffs, while Springer pulls a Phil Collins move, only with intense, raw, shattering vocals. We talk with Springer about the band’s imminent debut show (tonight!) and what’s to come.
 
The Deli: Down and dirty: 1 sentence to describe your music. What is it?
 
Nicole Springer: It’s loud, raw, high-energy garage rock with a blues edge and a whole lot of attitude.
 
The Deli: Why did you decide to do this project and how does it differ from The Clementines?
 
Nicole: Rooftop was an accident waiting to happen. Due to increased boredom, we both decided to form a fake garage band, with Tim on electric and myself playing the most disastrous drum kit of all time. We ended up enjoying it and upon playing it for a few people, realized it was something others could enjoy too. It’s way different than The Clementines. It’s more in your face, less emotional, more aggressive. It’s just an entirely different side of both of us, especially me.
 
The Deli: Nikki and The Rooftop Punch is an interesting band name. What’s the story behind that?
 
Nicole: Long story short, Tim punched me in the face once (supposedly an accident) and we happen to enjoy rooftops. Weird combo. But it works.
 
The Deli: You haven’t even played your first show yet and you’ve already recorded a few songs. Tell us about that.
 
Nicole: We have three songs recorded that we aren’t sure just what to do with yet. I think we might hold off on releasing anything until we see how far our songwriting goes, meaning if we write enough material for a full length. If not, we will release an EP. We shall see.
 
The Deli: Nicole, you play drums in this project and sing all the vocals. Not a lot of drummers do that. Is it a challenge for you?
 
Nicole: Singin’ and drummin’. It is definitely a challenge. I’ve been playing drums for a few months and for some stupid reason, I’ve written my vocal parts to be very difficult. I guess I like stressing myself out. Really though, It’s a whole new musical experience for me, but I really love it… especially the challenge aspect of it.
 
The Deli: What does supporting local music mean to you?
 
Nicole: Supporting local music means going to see shows, encouraging musicians in general. It means everything to a small-city band to have the support from others, fellow musicians, or otherwise. I know we wouldn’t be here without the support we’ve received. It’s crucial and we love giving it back to other bands as well.
 
The Deli: Who are your favorite local musicians right now?
 
Nicole: I enjoyed the live set I saw of The Quivers. So good. Trampled Under Foot is incredible. Cadillac Flambe and Grand Marquis are always amazing. Tim really digs Gentleman Savage. We’ve seen so many good bands though. We could go on forever.
 
The Deli: Who are your favorite not-so-local musicians right now?
 
Nicole: I really dig the band Haim, the most recent Tegan and Sara album, and then just basically the same stuff I’ve loved for years. Ben Folds Five, Feist, System of a Down, Radiohead, Rilo Kiley. Tim loves him some Jethro Tull. It’s an obsession.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Nicole: One where we’re headlining? Ha. I think we’d be a good fit to open for The Black Keys or White Stripes. That’d be pretty freaking incredible. Fantasy, indeed.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Nicole: Tim and I will split this one. Tim would have Ian Anderson and David Gilmour, and I would have Janis Joplin and Judy Garland. Can’t deny my love for Judy.
 
The Deli: All right, give us the rundown. Where all on this big crazy web can you be found?
 
Nicole: We can be heard/found at Reverb Nation or on Facebook. Our two available tunes can be found on Reverb.
 
The Deli: What other goals does Nikki & The Rooftop Punch have for 2013?
 
Nicole: First goal is to get through our first ever show in one piece. After that, we just want to spread the music, rock as many venues as we can, maybe take this gig out on the road for a few shows. We think this band is pretty fun and might be worth us exploring further.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 

Nicole: Just keep on supporting local music! Also, take chances with the music you want to create, even if it seems ridiculous initially (like being an inexperienced singing drummer). Do what you love and do it shamelessly! 

If you’re curious (and you should be), check out Nikki and the Rooftop Punch’s debut show tonight at Coda. Tim and Nicole play at 9, followed by The Heavy Figs and The Monarchs. Facebook event page. You’ll also have a chance to see them at The Bay in Warrensburg on August 31 and The Riot Room on September 18. What are you waiting for?

 

–Michelle Bacon

Michelle is editor of The Deli Magazine – Kansas City, and also holds down half the rhythm section in Drew Black & Dirty Electric and Dolls on Fire. She thinks you should listen to “Throw It Down” by Nikki and the Rooftop Punch cuz there’s some preeeettty sweet tambourine on it. Oh, and the rest of the song is totally not awful.

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Show review: David Burchfield and The Great Stop’s Farewell Show at recordBar, 8.10.13

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In the early evening hours of August 10, a crowd of well-wishers gathered at recordBar to witness a somewhat unusual event: a band celebrating the release of its first full-length CD … and doing so by performing for the last time. The term “bittersweet” seems tailor-made for just such an evening, but David Burchfield and The Great Stop seemed intent on ensuring that the sweet far surpassed the bitter on this night—and it did.
 
Burchfield will soon be leaving us, swapping the plains of the Midwest for the mountains of Colorado where he will be working toward earning his Ph.D. in Environmental Studies; in his words, “studying ways that disenfranchised communities can be better included in land-use planning and conservation decision-making.” His commitment to his future is commendable, as was his dedication to completing Perseids, a ten-track cornucopia of gentle, rustic charm and swirling, harmonic grace with roots that can be traced back five years to the penning of its oldest track. To label the album as “Americana” is far too broad a brushstroke; Perseids is 33 minutes of comfort food for the ears and the soul.
 
Full disclosure: Chris Haghirian of Ink magazine and I used to host a weekly podcast called The Mailbox (to which Deli editor-in-chief Michelle Bacon lent her expertise in making it ready for online presentation). For a show dedicated to the Chevy Local Music Showcase, Chris reached out to area bands and asked them for some new songs to play. Upon receiving this request, Burchfield decided to go one better: he got everyone together and wrote and recorded a brand-new song just for The Mailbox. That song became “Rite Two,” which is the sixth track on Perseids. So yeah, you might say that Chris and Michelle and I are fans. Check out that episode of The Mailbox at the link.
 
The Great Stop has gone through a few lineup changes since its inception in the spring of 2010, and is now predominantly a five-piece as opposed to the quartet that recorded the album. Only one other original member remains: bassist Seth Jenkins. The rest of the troupe of troubadours on stage (Camry Ivory on keys and vocals, Neil Ginther on banjo, kick drum, and vocals, Scott Shaw on fiddle, and guest bassist Matt Cathlina) were lock-step with Burchfield as he led those in attendance on a forty-five-minute show of gratitude for allowing him and the Great Stop to have their moment in the sun. That appreciation was clearly mutual, with several sustained rounds of applause throughout their set.
 
Keeping things light and loose seemed to be the intent throughout (from an impromptu “let’s hold this note impossibly long and see what happens” moment during the title track to asking if anyone in the crowd would be able to video their performance of a new song, “By the Coast,” so he could send it to Leslie Hammer, a friend and former member of the band), and I wondered if this might have been by design to keep the mood from getting too nostalgic and sorrowful. According to Burchfield, that didn’t seem to be the case: “The show was a culmination of a lifetime of hard work and passion for the music. I felt a great sense of satisfaction and completion—just great contentment to get to play these songs with so many people that I loved for so many MORE people that I loved! I just felt glad.”
 
The band closed with, appropriately, “The Great Stop,” which strikes me as the thoughts of a man realizing that there is far more in his world than he is aware, and because of that realization he may be aspiring for something—more meaning, more purpose perhaps. It could be interpreted as relating to Burchfield’s desire to set foot on a new path that may not always be comfortable, but one which he feels sure he must follow. As he prepares to close this chapter of his life and put pen to paper on the next one, these lyrics seemed to speak to this:
 
“Though there be unquestionable danger
In things not understood
In some you find the feeling
That this indeed is something good”
 
Cheers, David – here’s to The Great Stop giving yield to a greater start.
 
Here’s a video of David and The Great Stop on the Chevy Music Showcase. They’re being interviewed by KC band The Silver Maggies.
 
 
–Michael Byars
 

Michael Byars has an infatuation with cider, which we all think comes from his internal Britishness, but he works cheap and spells most of his words correctly, so we let him hang around. And Michelle still likes to punch him every once in a while. Executive privilege and all that, jolly good, pip pip, cheerio.
 

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Album review: Akkilles – Something You’d Say

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(Photo by Mollie Hull, Seen Imagery)
 
As one who has been a self-professed music junkie for pretty much my entire life, I’m constantly in awe of those who go onstage, no matter how large the stage or the venue or the crowd, and make music. As one who doesn’t possess a lot of musical talent, the chances of me experiencing that feeling are pretty slim, but that doesn’t stop me from thinking about the art in its various forms. When a solo artist writes music, and when it’s the kind of music that requires more than just the one musician to be performed live, does he/she worry about finding the right people to bring that music to life, or are the songs written because they simply have to be written, and there’s an intrinsic faith that they will eventually be heard as the author hears them? In the case of David Bennett, the man behind the loosely-knit group Akkilles, it seems to be mostly the latter.
 
When asked about the process involved in creating Akkilles’ first full-length album, Something You’d Say, Bennett speaks of having a clear vision to go with his musical voice, and he also was able to assemble a supporting cast of accomplished musicians that he respected and was fully comfortable with, even though they had never actually played together before. Additionally, the making of Something You’d Say involved having all five players in a recording studio (Nick Pick, Rachel Pollock, Jeff Larison, Isaac Anderson, and Mike Crawford, who also engineered the recording), as opposed to his first effort, Demo Treasures—recorded at Bennett’s home, and on which he was the sole musician and vocalist.
 
A bit about Demo Treasures: released in April of 2013, this five-track EP serves as a natural lead-in to the full-length recording. It contains a very Freelance Whales vibe at times, but there are instances when Bennett takes more risks with the music—as if he’s experimenting with his own potential, trying to test the boundaries of his work, perhaps seeing the bigger picture of the future ten-track album. It would be a wise investment to listen to this as a primer; it would also be a low-cost investment, as Akkilles is only asking for a couple bucks for the download on their Bandcamp page. (psst … there’s no rule against paying a little more, either. Any band worth supporting—not just Akkilles, but any and every band—is a band worth kicking in a buck a song for an EP purchase. Just sayin’.)
 
Listening to “Your Only One,” the opening track of Something You’d Say,put me in mind of being in a kicked-back state at the end of the work week, sitting on the beach, cold beverage in hand (make mine a cider, please), and watching the sun go down over the ocean. “She’s My Girl” offers nine-plus minutes of more gently trippy sounds, and the deeper you explore the album, the deeper your state of relaxation will be. Getting into the swirling psychedelia of the third track, “Country Boy Deluxe,” I started hearing a few more subtle resemblances and possible influences: a touch of yacht rock, maybe a little Minden, and (for me, anyway) the pensive reflection of Beck’s Sea Change album. Bennett masterfully tells his stories at their own pace, without the need of studio-born tricks or gimmicks to keep the listener’s attention. It’s also very clear that his band of musical hired guns is in complete lockstep with him, and the result is a seamlessly pure and effortless 51-minute mental massage.
 
Akkilles is not without its sneaky side, though: “Chic City” presents the listener with a relatively alt-country song as compared to the rest of Something. If the Flaming Lips had decided to bring Wilco into the recording studio … and, perhaps, maybe, oh, I don’t know, enjoyed a puff or two of some agricultural mood-enhancing materials, just speculating here … this might have been the result. It’s the closest to a “road song” that the album comes to—but it’s still a relaxed road even so.
 
Something You’d Say is more than the sum of its parts, as any worthwhile collaboration aspires to be. For those of us who look forward to summer every year only for the purpose of finding that special “summer song” or “summer album,” you can’t go wrong with making this your choice for 2013.
 
Of the roster of musicians that make up Akkilles, Bennett says this: “My current band is more of a collective than anything else. Everyone would be making music with or without me, but we all knew each other and they really wanted to be a part of what I was doing, and I love getting to work with such talented people. It’s a pretty dynamic group.” If you have the opportunity to see this group as they support the new album, be ready to have your mind bathed in the serenity of gentle ambience and warm, finely-tuned summer pop.
 
At least, that’s something I’d say.
 

 
Join Akkilles with special guests Roo & The Howl (Colorado) and La Guerre at recordBar on Thursday, August 29. It’s an 18+ show, $7 cover. Facebook event page. 
–Michael Byars
 

Michael Byars has an infatuation with cider, which we all think comes from his internal Britishness, but he works cheap and spells most of his words correctly, so we let him hang around. And Michelle still likes to punch him every once in a while. Executive privilege and all that, jolly good, pip pip, cheerio.
 

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Album review: Madisen Ward and the Mama Bear – We Burned the Cane Fields (EP)

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I’ve been fortunate enough to have been asked to do a few reviews for The Deli KC, and when Michelle Bacon asked me if I wouldn’t mind doing another one, I was happy to oblige. She offered me a choice: a band that I’m familiar with, or a band I’ve never heard of. I decided that I wanted the challenge of reviewing music from an unknown source, so she assigned me the new EP by Madisen Ward and the Mama Bear, We Burned the Cane Field. I knew nothing about them, had never heard of them, and put the freshly-burned CD in the computer with no idea what I was about to listen to.
 
After the music started on the very first track, the thought that leapt to my mind was: “Where has THIS been all my life?”
 
We Burned the Cane Field is an ode to a simpler time, when musicians were in no hurry to tell their stories (no song on this five-track effort is less than four minutes in length), and did so without musical pretense (the instrumentation is primarily acoustic guitar and violin, with the occasional cameo appearance of a Dobro or cello). The result is twenty-five minutes of audio art that borrows from field hollers and country blues/folk sounds of an era long gone, descendants of the same lineage as the Carolina Chocolate Drops and Leon Redbone.
 
There isn’t much info available on this newsome twosome so I asked Ward if he would fill me in on some of the history, and he was kind enough to share an exceptionally in-depth biography. I’ll let him share the entirety of it with you when he chooses, but to give you a little background: his mother (Mama Bear) started singing professionally in the early ‘70s and has recorded an album of her own. Ward began joining her onstage in his teen years, which inspired him to write his own music that he began singing at her shows. Eventually they decided to stop performing “her” music and “his” music and start focusing on “their” music. When they had enough material for an EP, they approached their good friend Joel Nanos of Element Recording, who was able to capture their sound just they way they wanted it to be captured. The title, We Burned the Cane Field, comes from a song that isn’t even on the record—just one of many qualities that make it a quirky and endearing effort.
 
Once the music begins on the opening track, “Silent Movies,” you’ll understand why this recording instantly struck a chord with me. The underlying senses of family and togetherness are unmistakable, as you can almost envision Ward and his mother sitting on the porch on a late-afternoon summer day, singing to each other and whoever else may happen to be there. The joy of music for music’s sake is what motivates this duo, simple as that.
 
They sing to each other in “Whole Lotta Problems,” with Ward playing the role of a man smitten with a woman and perhaps seeing her through rose-colored glasses, while his mother tries to talk some sense into him. The back-and-forth is a battle between his lovelorn lament and her maternal manner (“I bought her some flowers / she don’t need your petal … a car that I gave her / it’s just a piece of metal … I stole diamonds for her / she don’t want a rebel”). Who ultimately wins? Does Mama Bear get through? Does Ward continue to hold dear his heart’s desire? Those are questions only the listener can answer.
 
The lightheartedness of the opening two tracks give way to more depth and sobriety in the two that follow: “Darling Moon” showcases the voice of a world-weary and wizened soul that belies Ward’s 24 years, and Mama Bear’s harmonies add a mournful, empathetic tone. If you give yourself the chance to listen and truly pay attention to the lyrics and the melody, you’ll find the emotional weight of the song sneaking up on you. Truly a work of depth that, again, seems out of place given the youth of its lead singer.
 
“Down in Mississippi” is the EP’s nearly-seven-minute opus that sounds as if it was born in post-Civil-War times. The sparse guitar/violin arrangement is sheer perfection, and though the words may paint a melancholy picture, the overall message is one of affection for a land that may not be perfect (“did you feel that heat today / the sores are on my feet today / the sour’s not as sweet today”), but it’s theirs (“the cotton paints a field of white / you don’t have to steal tonight / here you’ll find a meal tonight”), and that’s alright.
 
The closing track, “Yellow Taxi,” offers a hint of vaudeville by telling the story of a busker singing songs for change from passersby on a sleepy street corner. He doesn’t want much, and it won’t take much to get what he does want, so even though his life may have a few hardships and he isn’t living in the lap of luxury, it’s the life he chose—and there doesn’t seem to be much regret in his message.
 
Returning one more time to the extemporaneous one-sheet that Ward created for me, I’d like to share his thoughts with you on how he approaches songwriting:
 
“There is a lot of fiction within our music, mostly because we love make-believe stories; but the emotion behind the music is where the true reality lies. I think there’s a lot of truth to fiction. Everyone can relate to something, whether a story is true or false. At the end of the day, we simply hope to entertain; put a smile on a face, or make a baby dance.”
 
With We Burned the Cane Fields, Madisen Ward and the Mama Bear will fulfill those modest wishes and more. This is a brilliant debut, one that came from seemingly nowhere to knock me over with its honesty and charm. I can think of many musicians in our area who will hear this and not only enjoy it—they just might want to join forces and work together on a few things. It may challenge them, it may inspire them, but ultimately it will result in more musical magic …
 
And that’s alright.
 

Madisen Ward and the Mama Bear, Ruth Ward, will be appearing next at The Great Day Cafe in downtown Overland Park on Saturday, August 10, 7 to 9 p.m. You can purchase their music on iTunes at the link here and also check out a video below from a previous performance at the cafe. 

–Michael Byars
 

Michael Byars wrote most of this with one hand, as his other arm has gone numb from his editor’s constant punching—but he thinks she’s pretty cool anyway. [Editor’s Note: She is currently telepunching.]
 

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Album review: Spirit Is The Spirit – Baktun Baby (EP)

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(Photo by Todd Zimmer)
 
It is practically inarguable to say that Sunflowers by Yellow Walrus sounds like the lost album from Death Cab for Cutie. What is a Yellow Walrus and why am I talking about it?
 
Two lives ago Spirit is the Spirit was known as the Yellow Walrus (Seafarer one life ago), of whom I had only seen once at the Mainstreet Café. Singer Austen Malone was clad in plaid, standing in replica Woody shoes from Toy Story—yes, even with “Andy” writing on the bottom. Malone’s thick-rimmed glasses draped the bridge of his nose, and the dead-ringer voice of Benjamin Gibbard echoed from his diaphragm at that show.
 
“Alright, alright, get on with it,” you’re saying. I will.
 
Spirit is the Spirit—a cog in The Record Machine—added Baktun Baby to their growing discography at the end of March. Baktun marks the sophomore release from the band—the first being the five-track Mother Mountain. And in my ears, as I’m sure it will be in yours, Baktun carries a much different vibe than Mother Mountain.
 
Plucking in with psych-rock tuned guitars, Spirit kicks off the record with spacy, indie riffs. Crisp, clean drums come in, throwing in the flavor of the four-song EP. A different flavor, mind you, than the first album, which had a more folk rhythm to it. You will not find that familiar sound here. The airy and cosmic dream sequence of home-opener “Only After Dark” will surely ignite your interest.
 
Don’t be startled, but your dream just took a wildly different turn. “45 Days” comes in fast and bouncy. A twisty and turny and unstable in terms of tempo is everything that “45 Days” is. Composed of synth racket, almost guitar solos, and an eerie effect of Malone’s prominent voice hits you hard and keeps you utterly involved through the whole song.
 
“I Believe That We Will Win”—a jam anthem. Again, embodying that same synth racket. This third track keeps your interest for a different reason. Sound bytes from public speeches blurt in and out of the first two-and-a-half minutes of the song. Soon enough, ambient, quiet vocals chime in.
 
“I feel like that train is getting closer,” says one band mate to his band mates. He is answered with a “Shhhh,” before the acoustic strumming starts in, marking the beginning of track four: “Lonely.” The brilliance of the band’s ability to harmonize shines on this track. Bringing a multitude of male voices to the sad lyrics boosts the somberness of the song. A sad way to end the dream sequence of an album.
 
There is no doubt that Spirit is the Spirit has the talent and ability to create dynamic pieces of work. Intricate instrumentation and the ebb and flow of the tempo ease the songs to an elite class of indie-rock. As I listen to Baktun Baby on repeat, I pick up something new in each song along the way.
 
Editor’s note: Baktun Baby was recorded and produced by Danny Bowersox at Spirit House Recordings in Lawrence and mastered by Joel Nanos at Element Recording. It was released in March with The Record Machine.
 
 

 

Your last chance to see Spirit Is The Spirit is this Saturday, July 27 at Czar. The group is part of The Record Machine Summer Showcase with special guests Palace and Volcano. Facebook event page. 
 
 
–Steven Ervay 
 

Steven Ervay is super rad. 

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Album review: Clairaudients – I’m A Loudmouth, You’re A Puppet (EP)

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(Photo by Todd Zimmer)
 
Speaking personally, I’m a Loudmouth, You’re a Puppet has been on my list of most anticipated local albums for 2013. I’ve been a fervent fan of Clairaudients since their days under the moniker The Atlantic. I’ve seen the band add members to their lineup (Chase Horseman joined at the beginning of 2013), perform numerous times at numerous venues, and now I’ll see them through their first album release.
 
I’m a Loudmouth, You’re a Puppet has been in the works for quite some time. And after listening to the album several times, it’s easy to say that the wait was well worth it. The album has so many subtle intricacies and deep meanings that anyone can tell it wasn’t recorded on the fly—a lot of thought and heart went into the album.
 
Clairaudients introduces itself with a nearly four-minute song simply entitled “Intro,” a chilling, soothing number which serves its purpose well as a lead-off track. With nothing but harmonized vocals and twinkling guitars, you’ll get lost in the ambiance.
 
Keeping in style, the first track fades out and another calming track slide into slot two. “Like a Song” is full of metaphors, which in my case, are up for interpretation. It’s the kind of song that you can listen to to find meaning, or a song that you can just jam to.
 
The album picks up halfway through with “Cellar.” This song easily takes the cake for heaviest track on the album. Vocalist Patrick Robinson definitely brings out his angry voice here. Deep, gravely, and abrasive sounds pour out of his mouth as the rest of the band falls in suit, striking heavy chords and pounding big drums. 
 
And again, before you know it, the tempo slows back down with “Broken Mend,” a solemn track full of heart-melting lyrics. The last track opens up with a strong organ chord, and is quickly followed by a jaunty guitar tune. “Back to the Sun” is a seven-minute anthem, and seems to carry a much lighter attitude than that of the other four. It appears to be more laid back and cheerful due in part to the upbeat, intricate mesh of instrumentals.
 
As I’ve mentioned already, I’m a Loudmouth is a great piece of work. There is so much content and impact stuffed into a small five-song album. The incredible musical accompaniment that is created by this sextet is something to be in awe of in itself, with the added element of Robinson’s lyrics.
 
I’m A Loudmouth, You’re A Puppet was recorded and produced at Massive Sound Studios by Jeff Pickman.
 
Tonight is the long-awaited release party for I’m A Loudmouth, You’re A Puppet. Clairaudients will be celebrating at Davey’s Uptown this evening with special guests Not A Planet and we are voices. Doors open at 8, show at 9. This is an 18+ show; $12 if under 21, $10 for 21+. All attending ticket holders will receive a digital download of the album. Facebook event page.
 
 
–Steven Ervay 
 

Steven Ervay is super rad. 

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Album review: The Pedaljets – What’s In Between

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(Photo by Todd Zimmer)

The name of this album is What’s In Between. Kind of weird, considering this is The Pedaljets’ third official full-length release and it’s taken them a couple of decades to get to this point. If this is just the median, then we can expect two more sometime in the next 20 years or so.
 
Thankfully all that time away hasn’t slowed them down. What’s In Between blasts off heads from the first track. When you hear them call out, “I’m gonna punch that fucker right between his eyes,” you know you’re in for a dirty, good time.
 
In a lot of ways, this might be their finest collection of songs. From the aggression of opener “Terra Nova,” to the beach romp “Riverview,” to the psychedelic/Beatles-esque “Some Kind of One,” Pedaljets seem to just be ON IT. A couple of tracks do falter when they occasionally get mired in that dark poets’ corner and push into anti-melodic wandering mode. It’s the same feel that made their self-titled LP (Pedaljets, 2008, Oxblood Records) such a heavy listen.
 
The Pedaljets have always played a special brand of Midwestern punk rock similar to The Replacements and Soul Asylum. It rocks, it’s tuneful, it’s upbeat, but it doesn’t have to match the cadence of a galloping horse to get its point across. What’s In Between has a lot of those elements. Mostly melodic, very rocking, and with that touch of heartland that can’t be extracted if you’re being true to your roots.
 
Final thought: great mix, vocals sometimes so powerful they distort in a really cool way, tons of low end (always a good thing), but if we’re being honest, the guitars could be louder.
 
Afterthought: OK, stay with me here…
 
“I love my Vaaaaaaaalerie!”

I came away from the new Pedaljets album singing The Monkees’ pop classic “Valerie.” Crazy, huh? Track eight: “Nothing Boy.” A heavy, dark rocker with a driving beat and shredded vocals. But tacked on the end is the unmistakable refrain from “Valerie” and it gets jammed in your head. Tons of other songs on What’s In Between do that too, but you get the feeling this earworm was designed to infect the listener with permanent oh-man-that-is-too-cool disorder. I mean, if you’re a Monkees fan too.
 
The Pedaljets are:
Mike Allmayer – guitar, vox
Matt Kesler – bass, vox, organ
Rob Morrow – drums, percussion, vox
Paul Malinowski – guitar, vox
 
 
What’s In Between was released today on Electric Moth Records. It’s available in vinyl and CD formats at The Pedaljets’ website, locally at Vinyl Renaissance, Zebedee’s, Mills Record Company, and Midwestern Musical Co, and for digital download on iTunes and Amazon,. The album was produced and recorded by The Pedaljets and Paul Malinowski at Massive Sound Studio, Westend Recording, and Midwestern Musical Co. It was mixed by John Agnello (Dinosaur Jr., Andrew W.K., Sonic Youth) at Headgear Recording Studio in Brooklyn, and mastered by Mike Nolte at Eureka Mastering.

–Steven M. Garcia
 

Steven is guitarist and lead vocalist for Deco Auto, and also makes a deliciously angry salsa.

 

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Artists on Trial: St. Dallas & the Sinners

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Every now and then, you just want to hear some raucous, boisterous rock ‘n roll. Though few bands can pull it off effectively and get a crowd on its feet, St. Dallas & the Sinners can. We talk with the group and find out more about the mark they’re making on the Kansas City music scene, their influences, and their belief that the Internet is a passing thing.
 
The Deli: Down and dirty: 1 sentence to describe your music. What is it?

St. Dallas and the Sinners: Filthy Dirty Rock ’n Roll!
 
The Deli: What should we expect from a St. Dallas & the Sinners show?
 
St. Dallas: You can expect our live show to be a spectacle. There’s really no other word for it.
 
The Deli: Tell us about what you have coming up this year. What can we expect?
 
St. Dallas: I think for the near future we’re really focused on introducing ourselves to the Kansas City scene and the region surrounding. We’ve also got a full-length out called Hail Mary that’s available on Spotify,  iTunes, or whatever else the kids are using nowadays. We’re pushing through a bunch of new material at the same time. Not sure when we’ll lay that down though. We’re looking to bring our music and live show to as many people as we can (and party with them!).
 
The Deli: What does supporting local music mean to you?

St. Dallas: It means supporting the community, and I’m not just talking about the music scene. Stop shopping at Wal-Mart, buy local. Kansas City has such an awesome palette of arts, music, food, and culture, there’s no reason not to. There are always opportunities to get involved, and when you do, it opens your mind, and allows you to see and hear in a new way.
 
It also means getting off your ass and doing something. Learn an instrument, start a band, go to shows, buy band merch, help touring bands. I hate it when you go to a "hardcore" city or a "punk" town, where the only thing anyone wants to do is sit around and pontificate to each other about how the scene is "dead" or how so and so’s band is just a bunch of posers. If you don’t fit in their narrow idea of what "good music" is, you’re completely ignored. The reason the scene died is because no one went to shows, and no one wanted to do the work to keep the scene alive. For any "scene" to thrive there needs to be diversity, people need to be encouraged and businesses need to be supported. I don’t know about you, but I don’t want to eat the same regurgitated shit every day. Luckily for us and everyone else in KC, we don’t have that. We have a great community of open-minded people who are willing to step up and support each other.
 
The Deli: Who are your favorite local musicians right now?

St. Dallas: A.J. Gaither, Cherokee Rock Rifle, Rumblejetts.
 
The Deli: Who are your favorite not-so-local musicians right now?
 
St. Dallas: AC/DC, Ernie Locke, Jim Jones Revue, Legendary Shack Shakers.
 
The Deli: What is your ultimate fantasy concert bill to play on?

St. Dallas: St. Dallas & the Sinners, AC/DC, Chuck Berry, and Iggy Pop.
 
The Deli: Would you rather spend the rest of your life on stage or in the recording studio?
 
St. Dallas: That’s a loud unanimous STAGE from all of us.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
St. Dallas: Chuck Berry, Angus Young, Howlin’ Wolf, Hank Williams Sr… cuz they dont give a fuck!!!
 
The Deli: All right, give us the rundown. Where all on this big crazy web can you be found?
 
St. Dallas: All over. We’re balls deep. Facebook, Youtube, Spotify, iTunes, Bandcamp. I hear the Internet is just a fad though.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?

St. Dallas: 1,4,5…KEEP IT ALIVE!
 
St. Dallas & the Sinners are:
St. Dallas – harps, vocals
Manila – guitfiddle, vocals
Rabbit – bass
Nick – drums/percussion
 
 
The guys will be bringing their brand of filthy, dirty rock ‘n roll to The Brick on Saturday, June 15. They’ll be playing with Jason and the Punknecks from Nashville at 10:00. Show up for what’s sure to be a rowdy, exciting evening.
 
 
 

–Michelle Bacon
 

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Album review: Red Velvet Crush: Smoke & Mirrors (EP)

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I am a sucker for a good rock song and a catchy hook. Those seem to be top priorities for Red Velvet Crush on its new EP Smoke and Mirrors. The band spent the first part of 2013 traveling back and forth to Austin to record at yellowDOGstudios with resident producer Dave Percefull, whose credits include such recognizable names as Green Day, Bowling for Soup and KC area Idol David Cook. All songwriting duties were split between lead singer Jillian Riscoe and guitarist Daniel Mendala on this four-song introduction to the rock pop outfit. 
 
Riscoe reminds me a little of one of my favorite female rock vocalists, Eleanor Whitledge, of the punk band The Goops. Riscoe and Mendala recorded all the vocals, guitar, and bass tracks with studio drummer Josh Center. Percefull took care of some of the drums as well as the key and synth tracks.
 
The opening track starts with a hard electronic feel and a 1/16th-note driving bass line that pushes the verses. Chugging muted guitars give way to Riscoe’s declaration of the chorus, “You Didn’t Lose.” Hard-hitting rock with pop sensibilities continues into track two, "Contents: Under Pressure.” It’s a slow and steady emotional one that keeps the vocals in the forefront—that one stayed in my head for awhile. The penultimate track begins with a soft voice and haunting piano riff, then kicks in quick with a tale of being "in love with a monster, devil in disguise… hiding behind blue eyes.” This rocker pulsates through 3 minutes and you don’t want it to end. Smoke and Mirrors closes with the positive, uptempo message of grrrl power with "Girls Rock TOO" that will have your head bobbing and your feet stomping. 
 
Red Velvet Crush has been honored with accolades from the 2013 Project Backstage Midwest Rock Awards, including Female Vocalist of the Year and Best Acoustic Performance of the Year. The vocalist award doesn’t surprise me, Riscoe has got pipes and knows how to control them. And there are plenty of YouTube videos of Red Velvet Crush online to back up the best acoustic award.

You can get your copy of Smoke & Mirrors this Saturday, June 15, at Czar. Doors at 5:30, show at 6:00. Red Velvet Crush will be playing with I Am Nation, Fight The Quiet (Nashville), The Amends (Colorado), and Root & Stem. Presale tickets are $5 for general admission and $10 at the door. You can also order a $15 presale ticket, which comes with a limited edition autographed copy of the new EP and a vinyl sticker. Order tickets here. Facebook event page. 

–Gavin Mac
 

Gavin Mac is a local musician, avid consumer of whiskey, and has a penchant for mischief. He may be lured to dark alleys with grape soda and has a plethora of socks.

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Album review: Betse Ellis – High Moon Order

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(Photo by Paul Andrews)
 
High Moon Order slips on like an old flannel shirt or a broken in pair of jeans. If comfort food were thirteen tracks of down-home musical cooking, it would sound a lot like this. The introduction to Betse Ellis’s solo album is “The Traveler.” I was surprised by the lush pop writing elements. It is a warm handshake with earthy acoustic instruments. This is a departure from the feel of Ellis’s band The Wilders. There are also some obscure fiddle songs that round out the album.
 
“The Golden Road” delivers what I expect from Ellis: a solid mix of bluegrass, folk, and country elements. The lap steel playing is űber tasty. Next is “Long Time To Get There.” Bluegrass enthusiasts will genuinely love this track. Her playing is exquisite. Fans will rejoice that there are five instrumentals in total. “Dry and Dusty” is a front porch bottled up in a little digital cocktail. The musicianship on this track is outstanding. It’s simplicity in arrangement and construction will pull the listener in for two minutes and fifty-one seconds of daydream immersion.
 
“Straight To Hell” is a cover of a Clash song and easily won as my favorite song. The vocals are mesmerizing. The drums sound reminiscent to something you would hear from Florence and the Machine. The chorus left me singing for hours after my first listen. I enjoyed the bigger production and effects. After the third instrumental “Elk River Blues” and its fantastic melody line comes “Twilight is Stealing.” A more traditional song, the voices of Ellis and Roy Andrade (who also plays banjo on the album) meld magically together. Traditionalists of American bluegrass and roots music will appreciate Ellis’s attention to detail in song delivery.
 
The eighth track is “The Complainer.” Versatility, delivered. This track reminded me of a mesh of Public Image Ltd (PiL), The Clash and about 40 tons of Hillbilly Riot. Even though I love the tradition songs, this ended up being my second favorite. Any rock band would love to have it in its portfolio. The record settles in with “When Sorrow Encompass Me ‘Round” and “The Collector,” both being solid additions. The last two instrumentals “Stamper” and “Queen of the Earth and Child of the Skies” are a continuation of the stellar performance standard. At this point, I should acknowledge the engineering, mixing and mastering work on the album. There is great consistency across the recordings. Overall, the album art and production are splendid.
 
Lastly, there is a big embracing hug to say, “…so long friend until next time” in the song “Question to Lay Your Burden Down.” Here again, are the pop kisses added to cement the fact that you will anxiously awaiting this founding member of The Wilders next solo effort. High Moon Order is a fantastic choice for your summer 2013 music additions.
 
Editor’s Note: High Moon Order is being released on Free Dirt Records and was produced and engineered by Mike West. The accompanying musicians on the album were Roy Andrade (banjo, guitar, vox), Jason Beers (bass), J.J. “Yukon Jimijon” Hanson (upright bass), Mike Horan (guitar), Jonathan Kraft (drums), Josh Mobley (keys), Mark Smeltzer (vox), Michael Stover (electric/acoustic/steel guitar), Mike West (percussion, vox), and Phil Wade (vox).
 
Tonight’s the night! Ellis and friends will celebrate the release of High Moon Order at The Brick. Music starts at 9:00 with an acoustic set, featuring Ellis playing solo, with combinations of others, and with a special string segment. Adam Lee and the Dead Horse Sound Company will play around 10:15. The full band from High Moon Order will perform around 11:30 with other special guests. Local artist Héctor Casanova will be doing live art in response to the performances. Facebook event page.
 
–William Saunders 
 

William is a local record producer, singer/songwriter, and guitarist/singer for The Walltalkers. He is also the head monkey at Saunders Street Records and still likes movies with giant robots.

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Artists on Trial: Red Velvet Crush

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If you seek hooky, strong rock anthems, look no further than KC’s own Red Velvet Crush. Fronted by veteran vocalist Jillian Riscoe, the young band has already received recognition around town (Riscoe won female vocalist of the year and the group won best acoustic performance of the year in the 2013 Project Backstage Midwest Rock Awards). Now, the five-piece group is getting ready to debut its EP Smoke & Mirrors. We talk with Riscoe and guitarist Daniel Mendala about the album and what they have coming down the line.
 
The Deli: Down and dirty: 1 sentence to describe your music. What is it?

Red Velvet Crush: Pop/rock with hints of punk, dance, electronic and hard rock mixed with what we do.
 
The Deli: Tell us about your upcoming EP Smoke & Mirrors. What can we expect?
 
RVC: Chapters of what we’ve been writing over the last year while putting the band together. We (Riscoe and Mendala) wrote and recorded the whole EP at yellowDOGstudios in Austin, TX with producer Dave Percefull and studio drummer Josh Center. Smoke and Mirrors is the just the first of what’s to come.
 
The Deli: What does supporting local music mean to you?

RVC: Creating genuine support and networks of music loving people. Going out to shows and supporting bands that are working to get to the next level.
 
The Deli: Who are your favorite local musicians right now?

RVC: Nick Marshall and the Evalyn Awake crew, Beautiful Bodies, Rocker Lips, Jonathan Theobald, just to name a few.
 
The Deli: Who are your favorite not-so-local musicians right now?
 
RVC: Jillian: In This Moment, Deftones, Lana del Rey.
Daniel: Eskimo Callboy, Young Guns, Our Lady Peace.
 
The Deli: What is your ultimate fantasy concert bill to play on?

RVC: Jillian: Christina Aguilera.
Daniel: Our Lady Peace.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
RVC: Jillian: Christina Aguilera, Axl Rose, Steven Tyler, Katy Perry.
Daniel: Axl Rose, Raine Maida, Duff McKagan and Lisa Loeb.

The Deli: All right, give us the rundown. Where all on this big crazy web can you be found?
 
 
The Deli: What other goals does Red Velvet Crush have for this year?
 
RVC: To promote Smoke and Mirrors, finish building our stage show, tour in the fall, and step back in the studio at the end of the year. Plus, Daniel and I are doing a lot of writing for Red Velvet Crush and for other artists.

The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?

RVC: Dreams to realities.
 
Red Velvet Crush is:
Jillian Riscoe – vocals, guitar, keys
Daniel Mendala – guitar
Kelsey Cook – drums/percussion
Josh Colburn – keys, synth, guitar
Bill Wald – bass
 
 
Make sure you hit up the release of Smoke & Mirrors this Saturday, June 15, at Czar. Doors at 5:30, show at 6:00. Red Velvet Crush will be playing with I Am Nation, Fight The Quiet (Nashville), The Amends (Colorado), and Root & Stem. Presale tickets are $5 for general admission and $10 at the door. You can also order a $15 presale ticket, which comes with a limited edition autographed copy of the new EP and a vinyl sticker. Order tickets here. Facebook event page.
 
–Michelle Bacon
 
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