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Album review: The Latenight Callers – Songs For Stolen Moments

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(Photos by Todd Zimmer)

From the first time I watched the video for “The Tease,” I succumbed to the fact that I was a fan of The Latenight Callers. Their ability to blend classic sounds with contemporary styling and a fresh approach is exactly why they are a local favorite. No doubt that TLNC has a very high ceiling. Those unfamiliar with the band will love their unique sound. They have a swanky blend of early Portishead, Garbage, and Lana Del Rey, but with an attitude that is genuinely their own.
 
I listened to Songs For Stolen Moments—the band’s first full LP—three times prior to initiating this review. Like a good movie, this record sucks you in and gives you a departure from the world for 53 minutes. The drum machine programming and keyboard work by Nick Combs is standout; the musicianship and vocal performances overall are top-shelf.
 
Songs For Stolen Moments starts off with “In Cold Blood,” which leads me to expect Humphrey Bogart stepping into a smoky bar with TLNC on stage. Classy and timeless come to mind. The journey steps to “Gypsy Moll,” which has a slight Garbage-meets-Ray Manzarek sound. The guitars are ripe with feel and the solo is perfectly suited to the song. Julie Berndsen’s voice is seducing, with or without the bullhorn effect.
 
The third track, “Straightrazor,” could be the next James Bond theme song. Krysztof Nemeth’s baritone guitar work on this track is catchy while maintaining a sultry feel.
 
Since it was the TLNC first song I heard, I’m partial to “The Tease.” The song represents the hit potential of this band. Its hypnotic nature is a consistent aspect throughout the record—it really does compel you to listen completely. The flow into “Red Bricks, White Ghosts” feels natural. “Thunderbolt” takes it up a notch, with a little nastier and dirtier sound. I appreciate how the album evolves that way.
 
I’m a fan of any production that uses sound effects and short titles on its albums, so “Interlude” into “Sleepless” is a perfect story to tell the listener. “Sleepless” ended up being my favorite song on the album. It has everything that you expect of TLNC’s sound. Gavin Mac’s bass line is catchy, the melody line is memorable, and Bernsden’s voice sounds amazing. “Tourniquets,” with its wild syncopation, was a fun track.
 
The album winds down with the cool marimba sounds and great arpeggio guitar of “The Big Sleep,” a nearly seven-minute song. It is followed by “Odessa,” another great song with nice effects and sonic landscape, which proved to be my second favorite track. Lastly, they lead us to the door of that swanky bar and bid us good night with the last cut, “Epilogue.” Overall, the production and song craftsmanship is blissful and intriguing.
 
 
Editor’s note: Songs For Stolen Moments was mixed and mastered by Duane Trower at Weights and Measures Soundlab in Kansas City. Video for “The Tease” was produced and directed by Anthony Ladesich. The version of the song for the video was on the band’s debut EP, most of which was re-recorded for this new LP.
 
Be sure to don your finest suit or gown and head to recordBar this Saturday, June 8, where The Latenight Callers are hosting a special release party for Songs For Stolen Moments. Thick and the Foolish and In Back Of A Black Car will also perform. Show starts at 10:00. 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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Album releases: June 4

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Several local bands have released albums today. Here’s a short preview of each.

The Jinxed – The Loon (Digital 7”)

 
If you haven’t heard of The Jinxed, you’re probably in good company; but you should recognize most of the names. This local supergroup of sorts has emerged with a digital 7” released by Sharp County Records today. The group—who also plays together in local cover band The Magnetics—includes lead vocalist and guitarist Bobby Topaz (Bad Wheels), and Antennas Up members Jon Ulasien (piano/synth, drums, bass, guitar, backing vocals) and Bo McCall (guitar). Ulasien recorded and produced the record, and Lennon Bone (Ha Ha Tonka) provides trumpet on the title track.
 
And from this track alone, there’s plenty of reason to give this group some well-deserved buzz. “The Loon” is a driving pop-rock diddy drenched in a feel-good ‘70s glam sensibility. Penned by Ulasien, the track has the infectious pop intensity of an Antennas Up song. McCall’s squealing guitar brings a psych element to the music, and Topaz adds the cherry on top with his charismatic vocals that strut seamlessly across the aural landscape.
 
Let’s keep our fingers crossed for future recordings from these guys.
 
 
Hidden Pictures – Sister Wife (EP) 
 
 
Hidden Pictures releases Sister Wife, a 3-track EP, today on Golden Sound Records. The songs were recorded with a host of local talent: band regulars Richard Gintowt (lead singer/songwriter), Nate Holt (keys), and vocalist Claire Adams (Claire & The Crowded Stage, Appropriate Grammar, Quirk & Ruckus), guitarist Jeff Freling (Victor & Penny), bassist Kyle Akers (Antennas Up), and drummer Lennon Bone. Though a slight departure from the band’s previous recordings, Gintowt’s songs retain their characteristically clean-cut, bright pop leanings. Sister Wife was mixed by Joel Nanos at Element Recording and mastered by Doug Van Sloun at Focus Mastering in Omaha. Drums and bass were recorded by Paul Malinowski at Massive Sound Studio.
 
This Friday, June 7, Hidden Pictures will be playing at the Crossroads Summer Block Party on 19th and Wyandotte. This will include eight local bands from Golden Sound Records and The Record Machine, along with food trucks and art/fashion vendors. The free fest goes from 6 to midnight; Hidden Pictures plays at 9:00.
 
 
Red Velvet Crush – Smoke & Mirrors (EP)
 
 
Smoke & Mirrors is the debut EP from Red Velvet Crush, fronted by young veteran musician Jillian Riscoe. The album was produced by Dave Percefull (Green Day, David Cook) at yellow DOG Studios. These four tracks give us an idea of the dancey but heavy-hitting appeal of a young band that fires from all corners of its material.
 

The band will have a special release party for Smoke & Mirrors at Czar on Saturday, June 15 at 6:00. The show is all ages and $5 presale or $10 at the door. Facebook event page.

 
Doby Watson & Margo May – Watson & May
 
 
 
Singer/songwriters Doby Watson and Margo May have teamed up to record Watson & May, a 7-track album that has been released digitally today. Tapes will be available at shows. May’s dreamy vocals coupled with Watson’s heavy-hearted, mature voice add critical textures to the sparse tone of the instrumentation. Watson & May was produced and engineered by Lennon Bone.
 
Watson and May kick off a week-long Midwestern tour tomorrow in Minneapolis. On Tuesday, June 10 they will perform at The Peppermint Forest in Columbia. Facebook event page for tour.
 
 

And here are a few other releases happening this weekend:

Waiting For Signal is releasing Mayday on Friday, June 7. The party will be at The Riot Room with Heroes+Villains, Roman Ships, and Sons of Great Dane. Show starts at 8. Facebook event page.

On Saturday, June 8, David Hasselhoff on Acid releases Eudaimonia at The Riot Room with special guests At The Left Hand of God, Narcotic Self, and Maps for Travelers. Show starts at 8. Facebook event page.

The Latenight Callers will also be releasing an album on Saturday. Their first full-length Songs For Stolen Moments will be released at recordBar; Thick and the Foolish and In Back of A Black Car will also perform. Show starts at 10. Facebook event page.

–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. Her phone just cracked, and apparently that’s a hip thing to do. She is too old to think so.

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MidCoast Cares presents Rock For Relief: A Benefit for Moore, Oklahoma

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Tonight, MidCoast Cares (who also raised money for the relief effort in the 2011 Joplin tornado) presents Rock For Relief: A Benefit for Moore, Oklahoma, which was recently devastated by a tornado.

Doors open at 5:30 and the show starts at 6, beginning with Ghost Town Heart, then She’s A Keeper, Not A Planet, Antennas Up, Beautiful Bodies, and closing out with Cover Me Badd. The event is at KC Live! in the Power & Light District. There are NO presale tickets. General admission is $10; $20 will get you entry, two drink tickets, and access to the VIP Lounge. All proceeds will go to benefit the tornado recovery in Moore through Heart to Heart International. A silent auction will also be held, and the first 200 attendees will receive a buy-one-get-one-free card from Chipotle.

Join the Kansas City music community for a great cause to help our neighbors in Oklahoma. Here’s the Facebook event page.

–Michelle Bacon

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Album review: The Clementines – The Clementines

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(Photo by Elise Del Vecchio at Lighted Stage Photography)

The Kansas City music community continues to thrive and expand, something The Deli KC is happy to support and report on, and this trend continues to build momentum with each passing year and each new album release. And by no means is this a boys-only club, of course; over the past several years there has been no shortage of great female singers in many genres: Abigail Henderson, Lauren Krum, Alicia Solombrino, Julia Haile, Danielle Schnebelen, and Shay Estes, just to name a half-dozen. These ladies can not only rock the mic—they do so fearlessly and effortlessly, providing a presence that is both captivating and unforgettable, and all are members of bands that bring great things to the stage whenever they’re on. There’s another name and another band vying for a place in your record collections, one that has been working the circuit, playing bars and clubs from Lawrence to Columbia and all points in between, and with the release of their full-length self-titled debut, The Clementines are ready for their well-earned time in the spotlight.
 
The Clementines started as a duo in 2011 with founding members Nicole Springer and Tim Jenkins each playing acoustic guitars and using their time to hone their singing and songwriting chops. They added the rhythm section of Stephanie Williams and Travis Earnshaw the next year, a move that gave heft and [if I may use a technical term here] oomph to support the power of Springer’s mighty pipes. And while they may have a lead singer whose voice can turn walls into rubble at any given moment, Springer doesn’t simply lean on her internal volume control switch in an effort to overpower her listeners. In The Clementines you’ll hear a great deal of control and command, as the music calls for presentation that runs from pensive to melancholy to victorious to daring to outright sassy. She’s got all the tools, and like any good carpenter or mechanic, she knows which tools to use and when to use them. No song features a delivery that seems out of place, and no mood is falsely presented.
 
Any band with such a commanding presence at the front runs the risk of being overshadowed by that voice, or of being seen as “hangers-on” who are only along for the ride because of the talent of the lead singer, not because of their own abilities. There is no such worry with The Clementines, as this is truly a band with quality at all positions. Jenkins has adapted and enhanced his guitar playing to accommodate both duo and quartet arrangements; his skills have progressed greatly since I first saw the two-piece version of the band on the recordBar stage a couple years ago. Earnshaw lends a stalwart bass presence, never pushing his way into the spotlight, but never fully conceding to the twin-mostly-acoustic-guitar sounds which he augments in fine fashion. His ability to set a warm, comfortable foundation to the proceedings is crucial to the cohesiveness of the music. And Williams is simply described in the band’s bio as “bad-ass drummer”; that’s about as spot-on as it gets. The Clementines features a wide array of genres and influences—rock, soul, jazz, Americana, gospel, blues—and their rhythmic timekeeper doesn’t miss a beat (literally and figuratively) throughout, keeping lock-step with her bandmates at every turn. If playing music with such a dominant frontwoman is a challenge, then Jenkins, Earnshaw, and Williams are more than up to the task throughout the album’s fourteen-track playlist.
 
A few CliffsNotes-sized looks at some of those tracks:
 
“Rough Times” – The first single released by the band; Americana-rock sounds with an underlying jazz snarl. To say that acoustic bands can’t groove is ridiculous, and this track serves as Exhibit A of that argument.
 
“Soul, Mind, Role, Survive” – The one electrified song on the album, with an added punch that gives it a ‘90s alt-rock vibe. A great change of pace.
 
“Could Have Been” – A menacing slice of backwoods swamp-pop swathed in Southern-fried goodness. Undeniably catchy and hooky.
 
“Say” – The most intricate playing by all four members, showing off the instrumental skill sets that make this band a quadruple threat.
 
“Responsibility” – This may be my favorite track on the album; Springer’s delivery goes from delicately soft to passionately earnest without breaking stride.
 
“Sightless” – Acoustic rock doesn’t get any better than this, pure and simple. Maybe *this* is my favorite track?
 
“Should I” – A delicate arrangement that made me think Western madrigal, which I can’t explain but it just sounds like it fits. If you’re a fan of Calexico (and you should be), this is a track for you.
 
“Moved” – A textbook closing track musically and one of the most lyrically powerful, an expression of longing and love lost; a very courageous move on the part of the band to close with a song that does not offer the listener the prototypical “happily ever after” ending. Okay, THIS might be my favorite track.
 
We all like to see friends and neighbors succeed, and when they’re willing to bust their asses to make good things happen for themselves, it’s all the more rewarding. Bands like Making Movies, She’s A Keeper, and The Latenight Callers are proof that constant work, abundant publicity, and outright ability will get your music heard. The Clementines fit that bill, with an increasing number of shows over the past few months which have led to their self-titled album being a reality—and a reality which you should tune in to. As Springer sings in “Bayou”, the album’s opening track: “I leave it up to you when we’re at the bayou / to renew my existence, to sanctify my consciousness.”
 
Existence renewed, consciousness sanctified—and efforts very much appreciated.
 
Be sure to join The Clementines this Saturday, June 1, as they release their self-titled debut album at The Brick. They will kick off the show at 9 p.m., playing the album in its entirety. Root and Stem will perform afterwards. Facebook event page.
 
–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. *punch*]
 
 
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Touring Europe with Ha Ha Tonka: An interview with Lennon Bone

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The last time we caught up with Lennon Bone, he was getting ready to embark on Ha Ha Tonka’s first European tour (see our interview with him). Now the group has just come off its second European tour (literally—they just returned to the US today), which has proven to be successful. Ha Ha Tonka has also been busy at work on a follow-up album to its critically-acclaimed 2011 LP Death of A Decade. Read on to find out more about their travels and what they have in the works.
 
The Deli: Where in Europe have you toured?
 
Lennon Bone: We started out in Prague, went through Germany, the UK, The Netherlands, Ireland, Norway, and Sweden to go. 6 weeks total. 
 
The Deli: Coolest place you visited?
 
Bone: Prague and Dresden are the most beautiful places I’ve ever seen. So old and amazing. The architecture is so spectacular, it’s like being in a book or something. Not to mention all the history that you hear about, but becomes so much more apparent when you actually see things like soot on buildings from where they were bombed, or gold placards on the footsteps of doors that show when a Jew was ejected from their apartment building. It’s pretty intense stuff. 
 
Hamburg is the most fun city we’ve been in, I think. We saw the sun rise two days in a row and the people weren’t even close to done partying. To list a few of the events we saw take place: a drunk Brit stripped down to his underwear and jumped off his party barge and had to be rescued before he drowned; someone actually died just before the show right next door to the venue we played; we saw a ton of prostitutes next to Burger King; we chased down a guy that stole some girl’s phone, and just had an absolute blast. It was a wild couple of days. 
 
The Deli: What’s the most fun venue you’ve played so far?
 
Bone: Hmmm…. that’s a tough one. The most fun venue would probably have been in London, for me. Great crowd, pretty packed and it was a Tuesday night. Over 100 different bourbons to try. Plus we got fed by some friends that work at a restaurant called River Cafe the night before. To give you an idea of how posh this place is, Elton John is doing a private event there next month and dudes like Bono and Chris Martin frequent the restaurant. 
 
The Deli: How have these European tours changed your perspectives as a band?
 
Bone: I think it’s made us reevaluate our plan as a business. We see the potential in all of these new markets, and have an opportunity to break out somewhere besides the States, which can also help our draw within the States. 7 months ago we were arguing whether or not we would even be able to do a European tour, and now we’ve spent 3 months there in that time. 
 
As far as our relationships, it helps keep us all positive to do new things. We’ve toured the States so much in the past 8 years that we recognize gas stations from coast to coast…. it’s revitalizing to see new territory and even get lost now and again. 
 
The Deli: What’s changed and what have you learned since your first European tour?
 
Bone: We learned a LOT about how to save money from really screwing up on the last one. Everything from getting cheaper ferry rides to buying water at a grocery store (at a gas station it’s 2 euro 60 per small bottle… You can get 8 liters for the same price at a store) and recycling the bottles (Bottles are worth .25 each). 
 
We’ve seen some markets like London and Ireland grow exponentially, which is great. We had two pre-sold out shows in Ireland. I think they were sold out almost 3 weeks in advance, one of them around 6 weeks out. So, we’re seeing that things could go really well if we treat it all correctly. 
 
The Deli: How have crowds responded to the music? Do you plan to go back?
 
Bone: Crowd reception has been great! Even at the smaller shows, people seem to get rowdy and be really appreciative of us coming over here to play for them. We’re already making plans to come back next year.
 
The Deli: There are a lot of bands that have pipe dreams about going on an overseas tour. What is your best advice to any KC band looking to do this?
 
Bone: My best advice would be to tour the States relentlessly before going anywhere else. We’ve been touring nationally for nearly 9 years now, and if we didn’t have the knowledge we’ve learned from being on the road at home, we could have easily lost so much money being in Europe. I mean, we lost some money on the first trip anyway. It’s just really expensive to make it happen. Promoters over there actually do their job as well. One of our booking agents is so committed to knowing how things are going that he’s jumping in the van with us for a week. That being said, if we didn’t have the tour history at home that has also brought us press that they can see, we wouldn’t be having this amount of interest here… at least I don’t think. If you want to tour and have it be successful, you just have to know how to tour, period. It’s much cheaper to get your feet wet in the States before possibly losing your ass overseas. On the other hand, if you just want to take a vacation and play some shows, go ahead and book your tickets. Just like anywhere else, I’m sure you could find some places to play. It’s really just about what your goals are. 
 
The Deli: Tell us a bit about the album you’re currently working on. What can we expect?
 
Bone: The album is officially done, and we’ve never been so excited about something that we’ve made. It’s still totally us, but it’s like the Tonka we’ve always wanted to be, if that makes any sense. It was produced by Dan Molad out of Brooklyn and The Ryantist from here in Kansas City. In my opinion, two of the best producers that nobody’s really heard of. Yet. I’m not saying our record is their ticket, I’m just saying that these guys were my personal first pick from day one because they’re outstanding at their jobs. We’ve grown enough as a band that we were ready to really include the producer in the role of constructing and rethinking the songs, and Dan and The Ryantist really helped bring them to life in a way we never expected. 
 
We recorded the bulk of the album in Omaha where they did all the Bright Eyes and Monsters of Folk records. The whole team is basically the same age, and we’re used to working with producers that are older than us. For me it really felt like we were the junior high kids trying to show up the high schoolers. We just had all these mics and snare drums and shit everywhere in the room. Double-necked guitars, synths, organs, whatever… and we just had the best time making an album. We went back to recording live, so all the basics are the four of us (or sometimes the producers would just hit record and join us in the room to play other things) playing together. It just feels good to me. I can’t wait for people to hear it. 
 
We’re planning on a fall release. We’ll take off after this next US tour for a few months and get all the logistics of the new album worked out so we can start a full nationwide tour at the end of September.
 
The boys will be returning to the mainland and playing in Kansas City on Friday, June 14. They’ll be supporting Reverend Horton Heat at CrossroadsKC at Grinder’s. After that, they’ll head on a short US tour with Someone Still Loves You, Boris Yeltsin. Visit the band’s website to see the rest of the US tour dates.

(Photo by Todd Zimmer)

–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. Her?

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Album review: A Light Within – Preface (EP)

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There are millions upon millions of songs that celebrate happiness: “I’m in love!” “She said yes!” “It’s a great day to be alive!” All valid emotions to be sure, and hooray for those who get to experience life in those circumstances … but what about when the feelings you’re feeling are along the lines of “It’s cloudy outside” or “Why won’t she talk to me” or “I can’t take this anymore”? These are also valid emotions which deserve musical voice, and in their debut three-track EP Preface, A Light Within delivers on the desire to hear the darker side of the psyche being celebrated in bombastic, beautiful anguish—doing so not only with thunderous power, but with a deft touch as well.
 
The titles of the three songs are page numbers that reference the concept of the album: the writings of a man reflecting upon his life, from beginning to end.  The words, in concert with the music, reveal a life lived in doubt and anguish, as the protagonist struggles to reconcile his time on this planet before the last grain of sand falls through the hourglass.  Lyrics such as “These open eyes are closing down / I’m too tired to sleep through life alone / This gallant heart is a fairy tale grown old” (“Page 32”) and “Whoever feels irrelevant has become as one with death to the living / Whoever claims innocent is blinded by a sun that can’t be seen” (“Page 18”) offer a window into a soul that is indeed lurking among the shadows rather than relaxing in the warmth of the sun.  These are places where many would rather not tread, but we all find ourselves battling our own army of demons at some point in our lives (whether they originate from external sources or are self-inflicted)—and even in the more sinister realm, there is a beauty to be found that may end up saving one’s sanity if one clings to it tightly enough.  The beauty of these tracks lies in the arrangements that somehow manage to be musically uplifting and inspiring … even though the words and emotions may not be.
 
When dealing with the harder, more somber edges of post-rock, the easy path to follow is to overwhelm the listener with volume, both from an instrumental and a vocal standpoint. “We’re angry, we’re pissed, we’re going to bludgeon you over the head with our seismic swagger”. A Light Within knows well enough to rein in this urge when properly called for, but is unafraid to let the reins loose as needed. Preface shows the raw power and melodic maturity of a band that, even though it may be in its infancy, has a lot to say—and, more importantly, knows how to say it for maximum effect. 
 
Here’s to the next chapter that this preface is leading us into.
 
 
–Michael Byars
 

Michael Byars is desperately trying to reunite the legendary 70s Welsh hip-hop band Honey Black Dolphins for his next birthday party. He’s also thinking about reinventing himself as a busker in England. They need to know the time and temperature over there too, right?
 

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Album review: Slum Party – Flood

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(Photo by Chad Codgill)

Flood is Slum Party’s second LP released in six month’s time. Whenever a band puts out music at that clip, you have to wonder if you have an outfit content with putting out just about anything they’ve got lying around or if they really are on a streak of vast creativity. Fortunately, Flood is a case of the latter. Slum Party has tightened and evolved their groovy, dream pop sound to new heights on this eight-song LP.

 
The album is deliciously lo-fi, creaking and cracking in just the right ways like an old Tascam four-track in the hands of someone not afraid of the red light. The arrangements are lush and well-sculpted. It is nice to hear the care that went into the peripherals of production and mixing, while at the same time somehow still maintaining a gorgeous and honest lo-fi glaze.
 
The guitar work and vocals are handled by the duo of Riley Kurtenbach and Scott Chaffin (here’s our Artist on Trial with Chaffin). Together they spin a web of distortion and reverb that hectically caroms from side to side above the often overpowered drums and bass of Jen Chaffin and Brittney Smith. Having listened to Chaffin’s work for over a decade, this is definitely the best usage of his falsetto vocal stylings I have heard. They are paired with great effectiveness with Kurtenbach’s clean voice, almost at times difficult to discern who’s singing what. It is truly an impactful dynamic trick that serves as a strong point all throughout the record.
 
The album opens with a somewhat confused personality in “Like It.” Kurtenbach and Chaffin establish a soothing back and forth over the resonant jam beneath, the distorted bass and chill drums slowly rocking the cradle side to side, only to completely break down and reform with a vastly different and more aggressive closing strain.
 
“Surprise” is a standout track for me, driven by a Gnarls Barkley-esque groove, Chaffin’s trademark trash pop guitar work, and Kurtenbach’s tight self-harmonization on the chorus.
 
“Tracks” is a tidy stripped down glass of lemonade in the middle of the sweltering behemoths surrounding it, the familiar fuzzy riffs replaced by a delicately strummed ukulele.
 
“Batwing Beauty (Surprise Reprise)” takes a stroll more on the psychedelic or jam band side streets. I’m not sure which of the guitar players is featured here, but he or she manages to bring at least a sliver of a welcomed focal point over the looped madness beneath.
 
The album’s closer “There’s Something Wrong w/Everyone” is like intoxicated math rock, a time signature that stayed on the Ferris wheel for one too many rides and is offering back up the corndog and cotton candy.
 
Slum Party has shown a consistent and dynamic evolution of their sound with this record. Sure, it’s loose at times and overall heavily medicated, but it is done with purpose and care. Flood is an exercise in sonic exploration above and beyond all past crutches. Bring on Slum Party #3.
 
Slum Party’s next appearance will be at Club 906 in Liberty on Saturday, June 15. Go check them out and pick up Flood.
 
 
–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: Pale Hearts – Hollowtown

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A shift has taken place. Balance granted once again to the world. Emotionally thought-out sleaze has reared its head on the Kansas prairie. Pale Hearts are alive.

 
Like frontman Rob Gilaspie’s former band­—the sadly departed wonder that was The Spook Lights—Pale Hearts channel The Cramps in disturbing and distinctive ways on their debut Hollowtown. The band masterfully blends elements of surf, punk, rockabilly, Latin, new wave, and even grunge to make a sound that is fully formed, complete, and unique. Always a twisted, off-kilter force of nature, Gilaspie’s vocals are more Richard Hell than Lux Interior this time around. The tone and body of his lyrics has changed as well, and for the better.
 
While still certainly offbeat (he sings about fucking a hole in a phone book on the record’s title track. Ahhh, classic Rob) the last year has been one filled with tragic loss, financial setbacks, and the collapse of a long-term relationship has caused a shift. Now, Gilaspie seems to be a changed man, unafraid to stand out front and exorcise his pain through rockabilly-fueled yelps, screeches, and screams; to say what he is thinking without coating it in layer upon layer of camp. The honest excitement and joy that he conveys during his live performances translates perfectly to tape on Hollowtown, while the band makes fantastic, strangely serene surf-influenced rock ‘n roll to feed the schizophrenic fire of the album.
 
Where The Spook Lights, while great at times, could be limited in scope, Pale Hearts are a band more than capable of reining it in or filling the horizon with sound, and it shows on Hollowtown. Rob Kemp’s guitar on “Breakheart Mambo” sounds as though it came straight from a David Lynch film; sauntering around the room with Mike Young’s drumming filling the song with restrained power as Gilaspie takes shots at a presumed former lover. “You made the scene on your back / you’ll go out the same way.” 
 
“Motorsports” is the song that feels most likely to make it to the radio. Melinda Robinson’s bass work is of a quality that would make Joy Division’s Peter Hook proud, razor sharp and ominous, while her background vocals bring a soft, otherworldly touch to Gilaspie’s wounded words. An amazing sonic feat considering the entire album was recorded and mixed in drummer Mike Young’s bedroom.
 
Hollowtown takes many paths; there is lamenting the loss of love (“Moon in the Gutter”), straight up weirdo surf interplanetary sleaze (They Pass for Human, High Plains Disko) and beauty (Motorsports). Hollowtown has powerful touches and velvet gloves, gnashed teeth and sincere smiles.
 
It is a weird record, not in a contrived way but genuine. This is who they are; forceful, delicate, talented and astonishing. Gilapsie has finally found the right band to help him make the record that has always been there, lurking just below the slime. Hollowtown left me off balance, not knowing where to go, which was up; all of these things are meant in a good way. It has been said that everyone has one good book in them. Hollowtown is The Pale Hearts epic novel. Dashell Hammett would be pleased.
 
The release party for Hollowtown is this Friday, May 24 at Frank’s North Star Tavern in Lawrence. Fake Surfers (Detroit) and Jocks will also be playing. Facebook event page. If you can’t make it out there, they’ll be at Black and Gold Tavern on Wednesday, June 5 with Deco Auto. 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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May Artist of the Month: The Ned Ludd Band

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The Ned Ludd Band is The Deli KC’s May artist of the month! The band has gained momentum since its inception, releasing its first album Spacebar back in late 2012 (check out our review). We talked with Ned Ludd himself (Aaron Fuhr) to find out more about the band and what else they have coming up.

 
The Deli: Down and dirty: 1 sentence to describe your music. What is it?

The Ned Ludd Band: I’ll say by influences. If Bob Dylan covered Radiohead after they discovered their love child was by Tom Waits. It’s personal and ridiculous and genuine with hope and shame combined.
 
The Deli: What’s the story behind the name?
 
TNLB: Ned Ludd was the folkloric leader of the Luddites, a revolutionary group in turn-of-the-century England. They destroyed looms and other devices and machines that were believed could replace the jobs of men and women. Captain Ludd was believed to lead the sabotage of several factories. This served for us as an initial theme for the band.
 
The Deli: Tell us how you guys got together.
 
TNLB: Clint Hoffmeier: I met Aaron at Coda’s Open Mic Night over 3 years ago. He came in with his harmonica holder and perfectly pressed tight vintage suit and some of the most wonderfully creative songs, with a intense look on his face. After hearing him a few weeks in a row I asked him if he ever thought his songs could be performed with a band, and that’s where is started. I grabbed Jordan [Carver], whom I’ve known since 6th grade, and he was my roommate at the time. I met Brent [Jamison] through Coda with his band The Sour Babies and he produced our first album Spacebar. When our drummer left the band, Brent quickly stepped up to fill the slot. He knew the songs better than anyone.
 
The Deli: Let’s talk about something you have coming up this year. What can we expect?
 
TNLB: New album due out by the end of the year. New sound, more grit, and hollow sounds. We took away a lot of acoustic guitar (I love Judas). Look forward to a Christmastime release.
 
The Deli: What does supporting local music mean to you?

TNLB: Almost everything. I budget for seeing bands I don’t know nor like. It’s better than my Netflix or Doggie. Coda has done a stellar job with my local aptitude.
 
The Deli: Who are your favorite local musicians right now?

 
The Deli: What is your ultimate fantasy concert bill to play on?

TNLB: I would rather play music and wear and eat sausages.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
TNLB: Mount Rushmore is a bad idea.

The Deli: All right, give us the rundown. Where all on this big crazy web can you be found?
 

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

TNLB: If you can’t be good, be sanitary. If you can’t be sanitary, play very quietly.
 
The Ned Ludd Band is:
Aaron Fuhr – vocals/songwriter/guitar
Jordan Carver – bass/vocals
Brent Jamison – rums
Clint Hoffmeier – guitar/vocals
 
Your next chance to see The Ned Ludd Band will be on June 28 at Mike’s Tavern. The band will also be performing on the roof of Phosphor Studios for First Friday with Dream Wolf on July 5. Finally, on July 26, the group will perform at Coda with Dream Wolf.
 
 

–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. In precisely one week from today, she will be enjoying the new episodes of Arrested Development. This is currently the highlight of her entire life. Do these effectively hide my thunder?

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Album review: The Electric Lungs – Simplified and Civilized

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Every person that picks up a guitar for the first time does it with at least some amount of notion that it will make them a rock star. After all, any musician who tells you that they never wanted to be Brian May circa 1976 is a goddamn liar. But there comes a time in almost every musician’s life where he or she realizes that dream is just not in the cards. Not for lack of trying or talent, but sometimes that lightning just doesn’t strike. So, what to do? Some go hang up the amplifiers, squirt out four kids, and buy a split level and a Kia. Some go the dreaded, dreaded, dreaded, dreaded cover band route. But the lucky ones are able to realize that there’s so much more to the making and celebration of original music than being uber popular for it. The Electric Lungs are in this wonderful place. They play THEIR music, THEIR expression, stripped of any notion of what it’s “supposed” to sound like. With Simplified and Civilized, they play the role of trendsetters, not trend followers.

The band provides us with ten tracks of energetic, punk-tinged, keyboard rock. Tripp Kirby fronts the bursting arrangements with the overzealous spasticity of a carnival barker. His voice is perfect for these songs, his moments of tenderness and sincerity in songs like “Every Ending” and “Eternal Smile” equally as effective as his red throated scream-singing in “Illium Works” and “(It’s not the) Bones That You Break.” The rhythm section of Marc Bollinger and Eric Jones does more than just lay the foundation. Together they shape and manipulate the dynamics of these songs, building and breaking them down to great effectiveness. The wildcard is the final gloss applied by Jason Ulanet’s keyboard work. Whether synth, horn, or a just simple piano, he further propels these songs into another category. In the end, you end up with something punky, something rockabilly, something proggy, sort of like Yes and Black Flag sharing a Bloody Mary at Brian Setzer’s wine mixer.
 
“Catching Up” is their take on the good old murder ballad. With equal parts psychopath and bubble gum, The Electric Lungs would like to remind us that under every serial killer there is a sweet little boy. Or something like that.
 
“Every Ending” is such a beautifully orchestrated song, cleverly organized and woven together perfectly. It is a funky little breath of fresh air in the middle of a wolf pack of punk songs.
 
“The Shit that I Eat” bursts at the seams, kind of like Sum-41 slave-driving an old-timey jazz band. The sullied horns and old-timey piano provide a wonderful counterpoint to the otherwise straight-forward and shit-kicking punk song beneath.
 
The album closes with one of the best efforts “Away to Stay (Hey)”. With all cylinders firing at the brink of explosion, this two-and-half-minute song is the perfect amount full of pounding drums, driving bass lines, fierce guitars, howling synths, and group-shouted “heys.”
 
This is a super strong record from the first strain to the last. The band has managed to take a group of very familiar rock music elements and spin them into something most decidedly new, something most decidedly themselves, something most decidedly The Electric Lungs.
 
The Electric Lungs will be playing tonight at Coda, after Dolls on Fire and The Hillary Watts Riot. Show starts at 9:30 p.m. All ages, $5. Facebook event page. If you can’t make it tonight, they’ll be at The Riot Room on Friday, June 7.
 
–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: Not A Planet – The Few, The Proud, The Strange

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(Photo by Todd Zimmer)

To say that Not A Planet puts on a show is an understatement. Led by Nathan Corsi and his extremely detailed, story-driven lyrics and oh-so-sexy guitar presence, Not A Planet brings something most bands in this region are unable to do without overdoing it. Corsi, backed by the fast fingered “Wild” Bill Sturges on bass and the one and only (dare I say handsome) Liam Sumnicht on the drums (see our interview with Sumnicht), this trio brings one hundred and ten percent of their energy to every show they play. Extravagant and catchy in all the best ways, Not A Planet’s newly-released twelve-song LP The Few, The Proud, The Strange shouldn’t have a problem winning over fans of rock and roll in a heartbeat.

 
Opening track “Greatest Show On Earth” kicks the record off with a whimsical bang. Lyrical metaphors of a grandiose circus reflect in the dynamic music that carries Corsi’s voice. The line, “Climbing in the cannon, a smile on his face, he waves at all the sadists in the crowd” might explain why the album cover has a stunt man helmet on the front. The track serves as a proclamation of what to expect throughout the rest of this record: elaborate tales and massive instrumentation.
 
“Girl Comes Down” is a beautiful singer/songwriter ballad that I imagine would warm the hearts of lovers around the world. With its simplistic nature (vocals and clean folk guitar) a love story unfolds that just makes you want to hold your loved one close. If Wesley from The Princess Bride played guitar, he would definitely learn this song and play it for Buttercup.
 
The next track, “Kingdom Come,” shows off a punchier side of Not A Planet. Sturges’ groovy bass lines really shine on this track. His ability to hold down the low end is impeccable and it becomes even more apparent throughout the rest of the record. Sumnicht keeps the song fast and fun. If you’re a fan of air drumming, this song will keep you extremely busy. The band recently filmed a music video for “Kingdom Come” at the Nelson-Atkins Art Museum (see below).
 
“Bang Goes The Gun” is one of my favorite songs to watch Not A Planet play live. Here, they do an excellent job recreating the explosiveness that makes this song great. The dainty rim shots, deep bass, and smooth vocals that start the song out are abruptly interrupted by a chorus hits harder than Floyd Mayweather. “Bang Goes The Gun” packs a punch that makes The Few, The Proud, The Strange a force to recon with.
 
Without skipping a beat, “Black Dress” follows, and would give The Black Keys a run for their money. Oozing with swankyness and bluesy riffage, “Black Dress” will make you move. No if, ands, or buts. Well…maybe butts.
 
“Invisible Man” is an eerie track that is filled with haunting, reverb-soaked vocals, interesting time signature changes, and soaring guitar solos. After giving it a few listens, there is no denying that Not A Planet can write a catchy chorus no matter what the vibe of the song is.
 
A little slower-paced than the previous two tracks, “Low” would make Stevie Ray Vaughn proud. After bashing himself for all of his faults, Corsi sings the lyrics, “You don’t know how low I would go.” With its waltz-like rhythm, it develops into an evil carnival of self-observation. Conflicted and full of turmoil, “Low” shows listeners that Not A Planet has a darker side.
 
“There’s No Coming Back” begins with massive bass and drums, and a very sweet reversed snare drum track that adds a cool texture to this soothing song. This track sounds like the band recorded ghostly sounds from the spirits that hang out in Black Lodge, where the album was recorded. This is a consistent, easy listening track.
 
With the ninth track, “My Train Is Coming,” the NAP boys bring it back to their roots: straightforward train car ROCK AND ROLL. This high-energy song is classic rock to the core and makes me wish I had a six-pack and a few friends to drink with right now.
 
The interestingly tenth track, “Free To Be Chained,” is a bouncy song with dance-worthy drums and dreamy harmonies provided by Sumnicht and Sturges. If anyone out there is working on a Phantom of the Rock opera, this track would fit in well. I’m a huge fan of creepy, grittily recorded voices in songs and though I can’t distinguish whose voice it is at the end of the song, it definitely adds some mystery (and evidence to my case that Not A Planet recorded ghosts talking).
 
Ironically titled “The End,” track number eleven isn’t the last song on The Few, The Proud, The Strange. Similar to track two with its simplistic instrumentation, it has a little more production behind it and it lyrically demands to be heard. The final line, “Because in the end, love is the only truth,” brings an uplifting vibe to tail end of this record.
 
The album’s final track “I’ve Got A Secret” seems more like a fun “We are so happy to have finished an awesome record” studio jam. With a groovin’ piano, elephant noises, chattering groups of people, and long fade out, this is a song die hard Not A Planet fans will get a kick out of.
 
The Few, The Proud, The Strange was released on May 10. Not A Planet’s next show is next Tuesday, May 21, at The Bottleneck. The trio also has several tour dates in June. Information available at the band’s website, www.notaplanet.com. 
 
 
–Eric Augustus Fain
 

Eric Fain plays bass and is the most hairy/handsome member of Clairaudients. In December of 2011, he filled in on bass for Not A Planet for five shows. His compensation: a pair of Liam’s Vans (I can’t find one of them…), $60 (I’d have done it for free!), and the memory of Nathan trying to throw up out of a moving van (he failed and threw up all over my face instead. True story, bro).
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Lawrence Field Day Fest: An interview with founder Cameron Hawk

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Lawrence Field Day Fest was born out of Cameron Hawk’s frustration with the attention that local and regional acts weren’t getting—to highlight their talents, to be different from other festivals that bring in national acts and sprinkle in local acts here and there.
 
“I honestly didn’t think people in Lawrence would care that much. It’s not like we were doing anything new.” Hawk told me. “I just wanted to show people the great talent we had in Lawrence. Plus, it was a way to fill a couple days in The Bottleneck’s calendar.” It went so well in its inaugural year that July 11, 12, and 13 this year will see the return of the fest. “I guess what people were waiting for was for someone to step up and just do it.”
 
Kansas City’s recent Middle of the Map Fest was incredible, with bands like Joy Formidable, Grizzly Bear and locals including Soft Reeds, Cowboy Indian Bear, Thee Water Moccasins, Hawk’s own band The Dead Girls, and others, but it just wasn’t the festival he had in mind.
 
“Middle of the Map, where they matched up local and regional acts was a cool idea, but I wanted to do something for the Lawrence bands and some area acts to make them feel special, to give them something that was just theirs for once,” said Hawk.
 
Were there ever moments of doubt? When did the calls of people wanting the fest made Hawk nervous? Did he doubt the creature he began constructing? “Oh yeah, man. I had never tried to do something like this so there were a lot of moments when I wondered if I could actually pull it off. It was kind of a Wayne’s World 2 scenario. Let’s do it. Oh shit, now we have to do it.”
 
Hawk, guitarist for The Dead Girls, Many Moods of Dad, and the punk thunderbolt that is Stiff Middle Fingers, and drummer for Hidden Pictures, says this year LFDF is completely local or regional acts. This is different from last year, where alt-country greats Drag the River and punk rock legend Stephen Egerton—guitarist for The Descendents—took the stage at the Jackpot.
 
“Having Drag the River and Stephen (Egerton) last year just kind of happened. It was awesome, but this year, I wanted to keep it to just the great bands of the area. People haven’t been going out as much, whether its money, kids, work, or just getting older. I want people to see what’s been going on, what they’re missing.” 
 
This year’s lineup will lean even heavier on the crop of local talent to build a roster that should pack The Bottleneck for three straight days. The ominous quake of Bloodbirds, Many Moods of Dad, Going To Hell in a Leather Jacket, the hardcore-influenced Black on Black, Radkey, Scruffy and the Janitors, sleaze warriors Pale Hearts, JOCKS, BaioWolf, Man Bear, Millions of Boys, and several others, will descend upon The Bottleneck, showing everyone that the Midwest is more than capable of cranking out great rock ‘n roll. 
 
“I hope people see the whole point of this,” Hawk said. “It’s not about bringing in national acts and getting the local acts to support them. This is about the local bands playing and showing support for each other. Let’s quit worrying so much about which bill will draw the best, having the same bands playing together all the time, all the competition. There are people that work really hard and never get thrown a bone for whatever reason; maybe it’s a situation where if more people saw them they’d get a better chance. That’s all I want to do with this. Let’s just play and have some balls.”
 
Lawrence Field Day Fest runs from Thursday, July 11 to Saturday, July 13 at The Bottleneck. A full lineup and ticket info will be available soon at The Bottleneck’s website. 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 national 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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