NYC

Album review: Tiny Horse – Darkly Sparkly (EP)

Posted on:

(Photo by Todd Zimmer) 

One horse. Very small. Packs a wallop.
 
Chris Meck and Abigail Henderson have given way more than their lion’s share to the Kansas City music scene. Whether through past efforts like The Gaslights or Atlantic Fadeout or being some of the driving forces behind the Midwest Music Foundation, Apocalypse Meow, and MidCoast Takeover, they should receive the deep admiration of anyone that sets foot on a stage in this town. Their latest musical endeavor, Tiny Horse, is no exception. Darkly Sparkly is a gorgeous collection of songs.
 
In the simplest of descriptions, the duo plays dark Americana. Ticklers of atmospheric instrumentation, provided by Meck, gambol upon the background, occasionally throwing the ball over the fence to take the melody reins or mingle with Henderson’s haunting vocals, but are quick to slink back to further delighting the sonic landscape.
 
But as everyone’s mother will tell you, life is not simple. Tiny Horse is the unfortunate poster band for this sentiment. You probably know the back story, but in case not, here is a link to an article from late 2012 by Timothy Finn over at The Kansas City Star that paints the picture.
 
Especially in that light, there are next to no words I can come up with to adequately describe the impact provided by the vocal performance. Henderson is able to speak from a place that few of us have ever been and she seemingly welcomes the opportunity to embrace these experiences and provide the listener with a small bathroom window into what it all has come to mean for her. Her voice is so beautifully imperfect—an ideal combination of coying, sweet and sassy as worked upon by the old rusty wood rasp from your grandfather’s tool shed.
 
Her lyrics say it best:
 
(Reviewer’s note: these are the best transcriptions these old damaged musician ears can figure out)
 
From “Ride”:
“There’s no one left to ask, pictures of the past just sit in boxes underneath the bed
Money’s just a noose, the old excuse that fooled you into what you did instead.
Ride with me tonight. Let’s remember what it means to chase a little something.”
 
From “Ghost”:
“Why do you need me? Why do you want me? Cause I’m not done here. Leave me alone.
Take your old songs. Take your old singers. Leave me to write. The only world I’ve known.”
 
From “Nashville Parthenon”: (Editor’s Note: "Nashville Parthenon" is a cover by Casiotone for the Painfully Alone)
“It’s been so dark since you left Nashville. I’ve read the same books again and again.
Makes me wish I wasn’t bashful when it comes to other men.
But if I could have my way, darling, you’d come home.”
 
 
“Softly We Fall” is a tender ballad reminiscent of the final song of a junior high school barn dance somewhere in dusty West Texas circa 1958. Meck doesn’t offer his voice up too often on these tracks, but they are used to great effectiveness here. His mimicking vocals follow along on the chorus, “Softly we fall into each other’s arms. It was your fault when we kissed,” further adding to the nostalgic remembrances of adolescent courting. His guitar work also particularly stands out on this track, beautifully crafted and culminating with a simple yet scathing solo to carry the song home.
 
All in all, the music presented by Tiny Horse is just simply triumphant, the work of carefully seasoned (and hardened) musicians, also including multi-instrumentalist Cody Wyoming, bassist Zach Phillips, and drummer Matt Richey. It is sorrow meant to be remembered, celebrated, and enjoyed. The EP’s title, Darkly Sparkly, seems most appropriate. The KC music scene would be a much darker and less sparkly place without the efforts of Meck and Henderson.
 
The next time you can catch Tiny Horse will be at The Brick on Wednesday, June 5. The group will be supporting out-of-towners Michael Dean Damron and Matt Woods.
 
–-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.
 
 
HTML Hit Counter
 
 

 

NYC

Album review: Drek – Drek Happens

Posted on:
 
If you haven’t yet had the chance to listen or watch Kansas City’s own Drek, its release of Drek Happens may be the perfect time. With in-your-face instrumentals and mean vocals, this is a band that not only makes your head bob while listening, but makes your whole body move when you see them live. Drek’s latest album dropped March 30and is heavy, dirty, and will make you rethink the whole rap-rock genre.
 
The first four tracks on the album showcase the band’s heavy side of as it delivers killer guitar riffs and hard-hitting bass. “Deep Breath” lets you more into the lyrical side of Drek and reminds of the power music has on influencing mood. Drek doesn’t allow you stay in the mellow mood too long, both live and recorded. From the ballad-y feel of the previous track, “So I’ve Been Told” moves to heavy drum and guitar sounds. This track sets the mood for the rest of the album, but when you finally hit “Yup, Yup, Yup Uh Huh,” you won’t be able to keep yourself from grooving. This track goes back to early 2000s rap-rock music with a real funk-based groove to it, which is probably why it was the album’s debut single.
 
“Dirtier” delivers more of a hard southern rock feel, with a “Yee Haw” included and a funky guitar part during the verses that will get you into it. Drek wraps up the album with “The Price,” a testament to all of those who threaten you but never to the face, and I think we’ve all had those. Drek offers a nice surprise for the fans by offering a bonus track. This cover of Cypress Hill’s “Hits from the Bong” is pretty legit and gives just enough balance to the original against Drek’s hard-hitting instrumentals. Overall, you can really feel the energy of the band coming through the speakers. If you get the chance to see it live, you will see just why Drek has one of the biggest and most loyal fan bases in Kansas City.
 

This Saturday, May 11, Drek will appear at The Roxy in Overland Park with Mad Libby, Unwritten Rulz and Cronus for a fundraiser for a girl named Izzy, who is battling leukemia. Facebook event page.

–Cassiopia "KC Cassi" DeMars 

KC Cassi believes that with true local music support, you can do great things. I grew up somewhere that way and have been in Kansas City since 2005. Music can change the world and support can help spread the jams.

Share this story on Facebook   

Hit Counter

Send Newsletters to your fans from ReverbNation.com
NYC

Open for Business: Mills Record Company in Westport

Posted on:

 

We here at The Deli KC would like to welcome a new member to the Kansas City music community: Mills Record Company, who celebrates its soft opening today! I spoke with Chris DeLine (formerly head of the music blog Culture Bully in Minneapolis) a bit about the shop and what you can expect to find there.
 
The Deli: Most important question: When does MRC open?
 
Chris DeLine: We’re open right now. Soft opening (not to be confused with a flaccid opening, which is something far less comfortable) notwithstanding, we have something planned a few weeks from now once we get our sea legs and are a little more settled with the whole "I give you records, you give me money" thing. We’re thinking an in-store, and I wanted to call it a "Holy Shit, I Can’t Believe We’re Still in Business" party, but that title seems a little long for posters. Plus, anyways, we have to make it that far first… horse before the cart, here.
 
The Deli: Some might say that record stores are dying out. Sadly, there are really only a select few left in the area (Vinyl Renaissance, Zebedee’s, Love Garden, Kief’s Music). Why did you all decide to open one?
 
DeLine: Some might also say that record stores are experiencing “a quiet ‘revolution’.” At least that’s what Fox 4 News’s John Holt said when he ran a profile on Zebedee’s this week. The Village Voice just published off a post-Record Store Day round-up of national headlines declaring record stores on the up and up (my favorite is "Vinyl Gets Its Groove Back").
 
Maybe one more link, for the hell of it… this from Billboard: "A total of 244,000 vinyl LPs were sold in the week ending April 21, according to Nielsen SoundScan—the largest one-week sum for vinyl albums since SoundScan started tracking sales in 1991." Still a niche market? Absolutely. But to call it a “dying” market seems dramatic and uninformed.
 
The Deli: How long has this been in the making?
 
DeLine: Somewhere between a few days and a few decades. You’d have to ask Judy Mills, the lady with her name on the sign (once we get the sign). After the company she was working for died on the vine, she really wanted to do her own thing for work rather than dive back into some corporate schlock. We’ve been friends for a couple years now, and when we were talking about the idea I agreed: shlock don’t rock. I can’t speak for Judy, but I can speak about what I know, and what I know is that she is a fan of music. We’re all fans of music… right, pretty generic statement. But she’s the sort of fan who is opening a goddamn record store in a time when some are saying that “record stores are dying out.” Pretty ballsy, if you ask me.

The Deli: Who else is involved with MRC? What’s your background with music?
 
DeLine: I’m just a dude who needed a job, and happened to have a friend who needed someone to run the cash register. Beyond that though, for the better part of a decade I ran a little music blog. For a few years there it was even a full-time thing for me—paid the bills and everything. That’s how I met Judy, actually. No doubt this will piss somebody off to no end—or at least someone local who is thinking "damn, I should be the one working at a record store"—but I just moved to Kansas City. So not only have I never worked in a record store before, but my ties to local music are limited to the crash course I’ve been giving myself the past couple months. Think I’m doing okay in terms of sorting out the who’s who, and what’s what though… 45s are the little ones, right?

The Deli: You plan on carrying local music in the shop. What other sort of connection do you hope to have to local artists?
 
DeLine: This is the fun part: My whole aim is to bring some local flavor into the equation (Emphasis on flavor). "But you just said you’re not from Kansas City, ya jackass," you might be saying. And you are right, I’m not. But that doesn’t mean I don’t have any interest in doing what I can to support the community that I now call home. In March I started the MRC Blog, which really only focuses on what’s going on around town. Every morning I’m posting a listing of the night’s local live shows in KC and Lawrence, in addition to a rundown of new local music, media coverage, and concert announcements. It’s not much—I’ll give you that—but it’s a start. We’re also slowly opening the blog up so more people can contribute, covering local shows, and new music on a daily basis. Baby steps…
 
Tying that in, we have space in the shop for in-stores and are starting to plan how we want to attack that to help give local musicians a place to do their thing if they want (And part of the shop is actually a boutique—I call it "Etsy stuff"—focusing on local artists of another type.) The crew at Demencha magazine subscribes to the motto: "Locals Before Legends." I don’t know that I agree with that completely (sorry Spirit is the Spirit, but Wu-Tang comes before you), but damned if we’re not going out of our way to help give love to the home team.
 
One more example: We’re only stocking vinyl… Except for local artists. It’s not exactly in the budget for most local creative types to get a rad vinyl pressing done of their latest and greatest. And we get that. We were on the fence about it, but as we get going we’re going to start taking on new CDs from local musicians. First CDs in the store are going to be from Troglodyte, as a matter of fact. If that doesn’t say something about how dedicated we are to repping local, nothing will.

The Deli: Do you have any favorite local albums? And anything (local or not) you’re particularly looking forward to carrying in the store?
 
DeLine: Bloodbirds‘ Psychic Surgery (see The Deli KC’s review here) and Gee Watts‘ Watts Up mixtape are two that have stood out recently. By the time this hits the web we’ll have Psychic Surgery on vinyl (priced to move!), and if Watts Up makes it to CD, it has a home in the shop as well.
 
Far as (inter)national releases go… I’ve been trying to nail down a confirmation on getting this new Quasimoto album that’s coming out. Forgetting the memorable nature of the music and why the release is important to hiphop heads, the bonkers packaging alone still makes it completely worth the money.
 
Seriously: it’s bonkers.
 
Check out the new store, located at 314 Westport Road. The hours are 11 a.m. to 8 p.m. Also, check out the MRC Blog as another great resource to find out what’s going on in the world of Kansas City music. There’s even an interview with yours truly, if you care to read it.

–Michelle Bacon

Michelle is editor of The Deli Magazine – Kansas City, and also plays in Drew Black & Dirty Electric and Dolls on Fire. She needs to eat more veggies. Also, her Record Store Day exclusive find was Nick Drake’s 180-gram vinyl pressing. It kind of rules.

Share this story on Facebook  

Web Counter

NYC

Album review: Bears and Company – South of the Mountain

Posted on:

South of the Mountain has been in the works for a while now. After a successful Kickstarter campaign in January of last year, Bears and Company set out to “create a dynamically driven record fueled by honest emotion,” according to its Kickstarter page. Dynamically driven it is, and hot damn, is it emotionally honest. This brand-new album will melt your face with heavy indie jams and just as easily melt your heart with brutal, beautiful lyrics.

If you’ve seen Bears and Company live, you’ll be insanely content as soon as you press play. “I Dreamt I Destroyed the World” tears into the audible plane with fast, riffy guitars—a live show favorite. This is one of many songs that entices the whole crowd to sing along to. Not to mention this song was released on a limited demo album the band put out last summer as an acoustic track.
 
Pay attention, because before you know it, “Occurrence in the Wildwood” is on. A graceful guitar reverb sound blends the songs wonderfully. You’ll find yourself lost in an entanglement of Logan Tyler’s smooth voice and Alex McClain’s angsty screams as they combat for the attention of your ears.
 
Again, you barely blink before “Susannah and the Elders” hits your playlist. I’d love to say this is the catchiest song on the ten-track album, but truth is, that’s just in my ears. Sitting in class, or on the clock at work, and I find myself shamelessly humming the tune to any song on the album at any time. Large sounds from gang vocals spice up the tune.
 
The Bears finally key things down from the seemingly customary heavy and fast songs with “Carroll A. Deering,” the fourth song featured on South of the Mountain. The song is a lullaby compared to what we’ve heard so far. Slow, sentimental, and heartfelt. It takes an uphill aesthetic, getting louder and more intricate during the four minute and fifty second duration. Don’t understand? Close your eyes and listen to the song, you’ll get it.
 
Keeping the tempo down and the tunes quiet, track five is just as chill as four. “When the Sky Opened” is another limited acoustic track from the Bears’ summer demos. A chillingly soft timbre emits from this song. This is the closest thing to an anthem you’ll find on this album. Starting off with a daunting and melancholy tone, the song does pick up a brighter message near the end, powering into the last half of the album.
 
“‘Return of the Hunters” and “After the Quake” are two other crowd pleasers at any Bears’ show; crowd pleaser is putting it lightly. As the band plays these songs live, the whole ambiance of the room shifts. Show patrons get closer and for several minutes every individual molds into one. It’s a weird, eerie phenomenon that is spectacular at the same time.
 
After these two powerhouse songs, you’ll run into the album’s title track, which serves as an interlude—an all-instrumental arrangement. To be the bearer of great news, this is not a break from the hard-hitting action that you’ve become accustomed to for the past half hour. This song stands just as tall and strong as any other of the nine tracks.
 
A personal favorite of mine comes next: “We Were Brothers.” It’s a sorry, remorseful song that has a plethora of ups and downs, musically and lyrically. On the latter half of the song comes a haunting, spoken-word-esque, poetic verse. Combining the screams of McClain and the angst-driven voice of Tyler, an otherworldly sound is created. This song takes the cake for the most emotional arrangement, for me at least. Just as mentioned about the catchiness of all the tracks, any given song on South of the Mountain can be claimed as the most emotional.
 
The Bears finish strong with the finale, “Moskstraumen.” In alignment with the title, this song is a perfect soundtrack for imagining large swirling bodies of water. Again, if you don’t get it, listen close, eyes closed. It’ll become clear. The dynamic shift of the heavy indie jams blending into subtle “la da da’s” pushes the song around and around, further and farther. This song was by far the best choice for an outro track.
 
The production and mastering of this album is top notch. Recording artist Aaron Crawford kept Tyler sounding sweet and soulful, his bass prominent and plucky. McClain’s voice was very vivid, but not overshadowing. McClain and lead guitarist Zachariah Knoll’s guitar works sounded perfect. Coming in loud, merging into a soft embodiment, resonating and producing feedback; gentle plucks and fast power chords fill the rest of the guitars out. The production of Allan Latini’s drum work was excellent: loud when they needed to be, heavy where appropriate, and epically proportioned to keep each and every track moving along.
 
South of the Mountain is an extremely emotional ride. The music may suggest otherwise, but listen for the meaning of each song and you’ll find several heartbreaks lurking for you. I recall a show a few months ago where I was talking to McClain after their set. He informed that this album would be his most emotional and honest work to date. That really shines through.
 
Bears and Company will be celebrating the release of South of The Mountain tomorrow, April 27, at FOKL. Doors open at 7:30, $12. The Author and The Illustrator and Clairaudients will open. Facebook event page.
 
 
 
–Steven Ervay 

Steven Ervay is super rad. 

Free Web Counter

NYC

Album review: Soft Reeds – Blank City

Posted on:

(Photo by Todd Zimmer)

When you go out and see live music, preferably a lot of live music (as you all should, y’know), you occasionally find yourself witnessing a performance that gives you the sense of something really big on the horizon. When Soft Reeds played the 2012 Middle of the Map Festival, I happened to be front and center for their set at recordBar. They ran through several songs that evening that I hadn’t heard before, and frontman/guitarist Ben Grimes said they were tracks from their still-being-written next album. Since then I’ve been telling anyone who would listen that, based on the five tunes they performed, their follow-up to 2010’s Soft Reeds Are Bastards was going to be a monster. One year later, the band has released its second full-length album, Blank City—and it would seem as if I got this one right.
 
The core four from their Bastards album—Grimes, percussionist Josh Wiedenfeld, multi-instrumental man John Mitchell, and funk mistress Beckie Trost on bass—were joined soon after by Jeffrey Harvey, whose keyboards and backing vocals added that extra bit of something that helped to pull the rest of the band into a more cohesive unit. Blank City comes in at a taut 31 minutes over its eleven-track playlist, and very few moments will leave the listener with the desire to sit still. “Pregnant Actress” is a case in point, as Trost’s effortless groove lays the foundation for what could pass for a lost classic from the heyday of Studio 54. The influence of Berlin-era Bowie can be found throughout the album, with “Nothing Changes” particularly showcasing angular, jagged guitar riffage—it’ll cut up some eardrums, without question. Grimes’ vocals are once again at their machine-gun-staccato best, which serves to augment the edgy arrangements that make Blank City a splendiferous indie-dance-floor classic in the making. 
 
Not every track follows the same game plan of getting people on their feet—not that there’s anything wrong with that. The opener, “17,” is a brief aside to a Moroccan marketplace where spices and savory goods are openly displayed for all to enjoy. “Hospitality” is an unexpected course-change that shows Soft Reeds can do more than just attack: they can musically woo as well, and who doesn’t like a little musical wooing now and then? And the album’s closer, “A Hysterical Woman,” once again proffers the Middle Eastern vibe of the opener, but instead of an open market you’re in a trendy hookah bar, zoning out on the smoke and the rhythm and Mitchell’s snake-like sax work.
 
Soft Reeds put down their sounds in the studios of Element Recording, whose owner, Joel Nanos, says of Blank City: “Truly one of the best albums to have graced this place.” Whether it was the surroundings, the move from a four-piece to a five-piece band, the cohesion of creativity and ability intersecting at just the right time, or a combination of all of the above, there is no doubt that the thoughts I had regarding this album a year ago have been validated. This is more than an improvement or a natural progression from their previous work; this is a band hitting on all cylinders, and they know it. The confidence, the tightness, the swagger … they’re all there. In abundance.
 
They may not be bastards anymore—but they’re hardly soft, either.
 
Soft Reeds will be celebrating the release of Blank City in Kansas City this Friday, April 26 at The Riot Room with special guests Be/Non and Rev Gusto. Facebook event page. Ticket link. And next Friday, May 3, the band will venture out to Lawrence with The Caves and Schwervon! to release the album at Replay Lounge. Facebook event page. You can purchase Blank City on iTunes and/or pre-order the vinyl with immediate digital download at The Record Machine Store.

–Michael Byars

Michael Byars is a self-confessed music junkie, used to drink Mountain Dew as if his life depended on it, has a second career in England as a juggling busker waiting for him if he wants, and once nearly made a purple-haired record store employee shoot tofu out of her nose. How many of you can say THAT, bitchez? 

(Video from I Heart Local Music)

Share this story on Facebook  

Free Hit Counter

NYC

Album review: Fourth of July – Empty Moon

Posted on:
(Photo by Todd Zimmer)
 
There is no time to breathe. No time to think. No time to even formulate a thought. There is no count in. Nothing. The sad, sorry songs from Fourth of July hit you like a bag of bricks, and now you’re forced to pay attention. Press play on Empty Moon and the baritone voice of singer Brendan Hangauer is the first thing to hit your ears. “Honey / is it hard to make friends / the way your emotions bend / and almost break?”
 
That first line is a decently accurate depiction of Empty Moon. A tangled, conglomerated mess of emotions; bitter songs with a tinge of hate and remorse fill out the full flavor of Fourth of July.  Subtle hints of longing and love lost finish off the lyrical taste. As stated in the band’s Facebook profile, Fourth of July is “having fun to sad music.” I couldn’t have said it better.
 
The majority of Empty Moon, as with the band’s previous two efforts, maintain a poppy, indie folk sound. Through Fourth of July On the Plains (2007), Before Our Hearts Explode! (2010), and now Empty Moon, the band has not changed their style. It’s good to know exactly what you are getting into when a band releases new works.
 
The difference in this album is the sheer rawness of the lyrical content. Previously mentioned is the band’s knack for formulating sad songs. This album takes a much more hateful tone; more of a big middle finger to one’s emotions as opposed to a snarky rude comment featured in the albums before.
 
Every song on Empty Moon can stand alone and hold its own as a potential single. But there are several songs that really resonate long after the album is done playing. “Drinking Binge” takes on the tale of, well, binge drinking, with arguably the fastest-paced tempo on the album.  “Eskimo Brothers” explores the seemingly shitty life of small-town dating. How a girl goes from guy to guy and eventually you’re just waiting your turn—there’s nothing else to do. Finishing off Empty Moon is perhaps the group’s most heartbreaking song, “Berlin.” The track takes a very angry, bitter tone as Hangauer serenades the memory of a former love.
 
Accompanying this album, on the High Dive Records Bandcamp page, is the Empty Moon Demos (below). All the same eight tracks dumbed down to strictly Hangauer and his guitar. In this demos album, Hangauer sounds more sorrowful and his voice is raspier. This is a haunting and distraught album that lies in the shadow of the musically-upbeat Empty Moon. These demos almost sound more appropriate than the actual album, having that melancholy ambiance.
 
This Lawrence band has made us wait for three years for Empty Moon, and it was well worth that wait. Exploding with such force and emotion, Fourth of July’s latest effort is really a great listen when you’re feeling blue.
 
Empty Moon was released on April 9 on High Dive Records. This Friday, April 26, Fourth of July will be doing an in-store performance at Love Garden Sounds with 1,000,000 Light Years at 7:00 pm. Vocalist Brendan Hangauer will be exhibiting his art there for Final Fridays Lawrence. Facebook event page.
 
 

–Steven Ervay 

 

Steven Ervay is super rad. 

Free Hit Counter

NYC

Album review: Cowboy Indian Bear – Live Old, Die Young

Posted on:

(Photo by Todd Zimmer) 

Cowboy Indian Bear’s newest record Live Old, Die Young is a mystical and massive full-length, 12-track LP. Spending the last couple of years crafting their sound, these boys and girl have grown into an entity all their own. Live Old, Die Young is one of the best records to come out of the Kansas City/Lawrence music scene since the release of Two Conversations by The Appleseed Cast. Cowboy Indian Bear has put together an album that is eclectic, dynamic, and enjoyable from start to finish. The only problem I have with this record is that my drive to work isn’t any longer and it’s impossible to listen to 42 minutes of amazing songs on a 20-minute drive. Here’s my song-by-song breakdown of Live Old, Die Young. Enjoy!
 
“Washing” starts out the LP with slow, smooth waltz instrumentation that provides an excellent backbone for the four-part harmonies that carry this dreamy tune. Featuring an interesting stand-up bass and vocal break, this song keeps the same pace throughout. It’s a gentle song that isn’t overwhelming upon first listen and showcases many of the features that make Cowboy Indian Bear an enjoyable and unique band.
 
“Does Anybody See You Out” kicks in with a groove of multiple percussive instruments, a pick up from the opening track. At six minutes and twelve seconds, this is the longest track of the album. Its dreamy reverb-slathered guitars and keys coast with ease over the tight, intricate rhythm. Its catchy hook, subtle vocal effects, and all around progressiveness make this one of my favorite songs on the album.
 
Lyrically, “Barcelona” is my favorite on the record. The song shows the amazing imagery and storytelling abilities this band is capable of. The pace of the album begins to pick up after this epic tale about the beaches of Barcelona and digging up graves.
 
CJ Calhoun starts out “Seventeen” with a soulful acapella serenade. Katlyn Conroy’s voice sweeps in beautifully along side heavy driving bass, keys, and drums, and you immediately feel the power of this song. There is an anxious drum roll hiding in the mix that sounds almost like a helicopter taking off and it builds in a wonderful way. Conroy’s vocals outweigh the boys towards the end of this song right before it breaks into a dreamy feel-good noodle break. The song ends as simply as it starts.
 
Not breaking the two-minute mark, “Live Old, Die Old” is a trippy interlude track comprised of every instrument, including vocals, reversed. Though I tried, my stash of jazz cigarettes couldn’t help me translate what is being said/sung. Reminiscent of Minus The Bear’s “Highly Refined Pirates,” this interlude fits well where it is and shakes the record up a bit before heading into different musical direction.
 
The first line from “I Could Believe in Anything” grabbed me immediately with the sincere and certain tone of Calhoun’s voice backed by a super groovy bass riff and electronic drums. This short, harmonized chant and percussion-driven track might not be a standard “Radio Single” but it’s definitely no filler song either. It’s the kind of song that is best listened to at a packed Cowboy Indian Bear show after everyone has had a little too much to drink.
 
If track seven, “I Want a Stranger’s Heart,” isn’t the intro song for the next James Bond movie, someone in Hollywood is screwing up. Badly. It’s slow, sexy, reverb-drenched, and adds a magic touch to Live Old, Die Young. The smoothness of this song carries it until it takes a loopy experimental turn. I’m a sucker for reversed vocals and guitars, and these guys do it well. I’m not advocating this, but I’m sure they are saying something cool if you play the record backwards (but don’t blame me if you scratch up that pretty white vinyl).
 
“Cloth into Clothing” is a poppy, percussive song that showcases the beautiful voices of Conroy and Calhoun very well. This track is mixed in a way that will make you feel like you are alone in large empty room (possibly an abandoned church) listening to Cowboy Indian Bear jam. The raw, roomy drums really stand out, thanks to the nimble hands of Beau Bruns.
 
“Let it Down” is by far the shining star off this album. The lyrics are beautifully depressing and float dreamily over massive tom fills and melodic guitars and keys. Though the lyrics may give off the impression of giving in to sadness, the music is hopeful and uplifting.
 
I’m not certain, but it sounds to me that “Live Old, Die Old (I)” could be a trippy sped-up/reversed remix of “Let It Down.” It’s a nifty little addition to this record and I imagine offers an opportunity for members to tune or switch their instruments in a live setting. This track shows that they had some solid time to have fun in the recording studio.
 
Track eleven, “Jennifer, is a solemn song that captures the essence of a broken heart. In typical Cowboy Indian Bear fashion, this slow-building song adds a multitude of large percussion and perfect harmonies. Sonically, “Jennifer” strays from the standard intro/verse/chorus/verse/chorus/bridge/chorus/outro formula. Though it might not be one of my favorite songs off the record, it definitely fits the vibe and tone of this record.
 
According to the Hebrew Bible, Methuselah is purported to be the oldest person to ever live, thus making the title of the final track “Your Favorite Son, Methuselah” ever so fitting. The lyrical phrase “I’ve got an edge / I could be your scythe” creates the imagery of Calhoun bargaining with the Grim Reaper to let him live on as an asset. The upbeat nature of the song helps round the album out in a way that makes it nearly impossible to not listen to the album all the way through again.
 
Live Old, Die Young is a professional and beautiful record. Cowboy Indian Bear has worked hard crafting this gem and it shows.
 
This week only, you can listen to Live Old, Die Young at the link here. You can purchase it on iTunes and/or get the vinyl with an immediate digital download on The Record Machine store. Cowboy Indian Bear will be celebrating the KC release tomorrow, April 25 at Davey’s Uptown, with Palace and Heartfelt Anarchy. Facebook event page. Then they embark on a two-week tour (details below). The Lawrence release party will conclude the tour on Friday, May 10 at the Lawrence Arts Center with Spirit is the Spirit. Also, visit www.cowboyindianbear.com for more information about their tour schedule, merchandise, and all things CIB.
 
 
–-Eric Fain
 

By day, Eric Fain sells used books to pay the bills. Most nights you can catch him at any given KC/Lawrence venue supporting and promoting local music. He is currently the most tattooed and hairy member of the Kansas City rock band, Clairaudients. 

Free Web Counter

NYC

Album releases this week

Posted on:

April has proven to be a month of local album releases. Fourth of July, Cherokee Rock Rifle, Dead Voices, Radkey, and Reach have offered a variety of music this month, and this week with round it out with solid efforts from several bands.

Kicking it off will be Cowboy Indian Bear, who will be releasing Live Old, Die Young this Thursday, April 25 at Davey’s Uptown with Palace and Heartfelt Anarchy. Show starts at 9:00 pm, $7, 21+. Facebook event page.

 

On Friday, The Grisly Hand releases Country Singles in grand fashion at Knuckleheads with Trevor McSpadden of The Hoyle Brothers and She’s A Keeper. Show starts at 8:00 pm, $12 adv. Ticket link.

 

Soft Reeds will also release their second full-length album Blank City on the same evening at The Riot Room. They’ll share the stage with Be/Non and Rev Gusto. Starts at 9:00 pm, $7, 21+. Facebook event page. Ticket link.

 

On the other side of the state line, Friday night at Replay Lounge in Lawrence will celebrate the release of Let’s Get Cynical EP from Black On Black as well as The Consequence of Trying from Many Moods of Dad. Muscle Worship also plays. Starts at 9:00 pm, $3, 21+.

 

On Saturday night, Bears and Company will be releasing South of the Mountain at FOKL with Clairaudients and The Author & The Illustrator. Show starts at 8:00 pm, $10 adv (free download card available with pre-sale ticket), $12 door. Facebook event page.

 

Finally, Drew Black & Dirty Electric will be releasing its debut EP Dead Kings & Queens at The Riot Room with The Caves, The Sluts, and Knife Crime. Show starts at 9:00 pm, 21+, $5 adv, $7 door. Facebook event page. Ticket link.

–Michelle Bacon

HTML Hit Counter

NYC

Album review: The Silver Maggies – My Pale Horse

Posted on:

(Photo by Todd Zimmer)

The origin of The Silver Maggies can be traced back to 2009, when musician and Jaykco Guitar Strap peddler Patrick Deveny did what many other makers of music do: he got a bunch of friends together and formed a band. Early returns were good, and the country-rock sounds being made were fine, but after taking part in the Murder Ballad Ball of 2010, Deveny wanted something a little different. He recruited American Catastrophe’s Terrence Moore soon after, and fellow AC member Amy Farrand a couple years later, thereby taking The Silver Maggies to a place much darker and pensive, but still stylish and sophisticated. After some tweaking and fine-tuning, the band released My Pale Horse, its first full-length album, earlier this year.
 
Having seen Terrence Moore perform as a solo artist numerous times, I’m familiar with a few of the songs he brought to the band. Hearing “Trouble” as a fully-formed work is a revelation, as the starkness of the singer-songwriter is replaced with the muscle and polish of this seven-piece juggernaut. Moore’s voice has a natural sinister quality, which lends itself well to the lyrical content of this opening track (“proceed to the exit quickly / cause I’ve got a match that’ll burn this place down / to the ground”).
 
By contrast, in the second cut, “To the Quick," Deveny’s well-weathered voice slides over the music, coercing the listener to join him on a desert drive, windows down, the landscape lit by the waning light of dusk. When the chorus hits, I hear a perhaps-unintentional-perhaps-not taste of ‘90s alienation of “Nearly Lost You” by Screaming Trees, giving the track that much more of an isolationist feel.
 
When the distant horn comes in on “It All Went South," you may get a sense of influence from Arizona legends Calexico—and you would be absolutely correct. The band’s signature trumpet sound comes from the embouchure of Jacob Valenzuela, who lends his services to My Pale Horse in a most distinctive and impressive manner. To further the connection between the two bands, the album was mixed by long-time producer-engineer and Calexico collaborator Craig Schumacher in his Tucson, AZ studio.
 
Labels such as “gothic country” and "high desert noir" are not so cut-and-dried as “rock” or “blues”; they are far more descriptive and far more challenging to attain, as they hint at music that is very cinematic in scope. This isn’t the sound that you want as low-level background ambiance—these genres should take the listener into a far more visual realm. A daunting task to live up to, and The Silver Maggies—which also include Jonathan Knecht on drums, Felix Dukes on guitar, Steve Tubbert on bass, Samon Rajabnik on Hammond B3 organ, and guest vocalists Claire Adams and Katy Guillen—have risen to the challenge. When I listen to My Pale Horse, I not only feel as if I’m watching a sepia-tinged Western movie; I feel as if it’s getting to the part where the good guys and the bad guys are getting ready to settle things once and for all.
 
Sounds like trouble—but a kind of trouble I’m happy to bear sonic witness to.
 
My Pale Horse was released on March 28 by KC music collective Money Wolf Music. The Silver Maggies’ next live appearance will be at Cowtown Mallroom on Sunday, April 28 at 3:00 p.m. It’ll be a free, all-ages show in one of KC’s most historic venues. 
 
–-Michael Byars
 

Michael Byars may or may not be pickling things at this moment. It’s possible that he’s already had four or five bottles of Mountain Dew by now. There’s a chance that he is at a hookah bar somewhere. You may say he’s a dreamer. But most of all, he spells pretty well and he works for free, so we let him write stuff for us sometimes. 
Free Hit Counter

 

 

NYC

Band Spotlight: Black on Black

Posted on:
Lawrence’s own self-described American garage punk band Black on Black flies in the face of what is currently perceived, in some circles, as cool. They do not have a gimmick, they haven’t incorporated glockenspiel and banjo into the music to appease the indie kids, they do not rehash Misfits or Black Flag riffs to grab the punk vote, no. Black on Black just makes aggressive yet melodic music that gets your attention, throttles it, and refuses to let go.
 

The band will be releasing its second EP Let’s Get Cynical on Friday, April 26 at the Replay Lounge with Muscle Worship and Many Moods of Dad. Read our interview with them at the link here!

–Danny R. Phillips 

NYC

Artists on Trial: Heartfelt Anarchy

Posted on:

Emcee Les Izmore and producer D/WILL make up the electrifying hip-hop duo Heartfelt Anarchy. The two artists blend their respective talents together in this project to create a vital, prolific musical collective for the Kansas City scene to enjoy. We talk with them about their upcoming appearance at Middle of the Map Fest.

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

D/WILL: Alan Parsons Project x DJ premier instrumentals with Izmore raps on top.
 
Les Izmore: Middle of The Map Music.
 
The Deli: What other artists are you looking forward to seeing at MotM?
 
D/WILL: Ebony Tusks, Stik Figa, and all the amazing DJs.
 
 
The Deli: Let’s talk about the self-titled album you just released, What can we expect?
 
Heartfelt Anarchy: An experience.
 
The Deli: What does supporting local music mean to you?

Heartfelt Anarchy: Community.
 
The Deli: Who are your favorite local musicians right now?

D/WILL: Stik Figa, Gee Watts, Sir Adams, Milk Drop.
 
Les: Cowboy Indian Bear, The Abnorm, Diverse, and The Conquerors.
 
The Deli: Who are your favorite not-so-local musicians right now?

D/WILL: Binary Star, WLAK, Lecrae, Yellawolf, Kendrick Lamar, The Black Keys, Ces Cru.
 
Les: Antibalas, Ka, Animal Collective, Kendrick Lamar, and Danny Brown.
 
The Deli: What is your ultimate fantasy concert bill to play on?

D/WILL: I have been blessed to rock with a lot of national acts, so that’s a tough one… Madlib and J.Roc, maybe.
 
Les: James Brown and The JBs, Exuma, Outkast, Rage Against The Machine, and Fela Kuti.
 
The Deli: Would you rather spend the rest of your life on stage or in the recording studio?
 
D/WILL: In the recording studio.
 
Les: Stage.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
D/WILL: James Brown—he’s the godfather of soul, and was the hardest working man in show biz.
Marvin Gaye—super soul!! So talented… an amazing musician/producer and his voice is like heaven.
J Dilla—King. He changed the way my ears hear music.
 
Les: James Brown, Sun Ra, Fela Kuti, Bo Diddley.

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?

D/WILL: Don’t be selfish; don’t try to impress others. Be humble, thinking of others as better than yourselves. Don’t look out only for your own interests, but take an interest in others, too.
 
Les: Each crew Teach Two. And check out live shows. And put down ya phones and engage.
 
Heartfelt Anarchy is:
D-WILL
Les Izmore
 
Check out Heartfelt Anarchy at Middle of the Map Fest Friday, April 5, where they will play at The Conspiracy Room inside The Uptown Theater at 10:00 pm. They will play right after The Last Bison and right before Kids These Days.
 
You can check out their other projects at Middle of the Map too—Les will be featured with The Hearts of Darkness on Saturday at 2:00 pm on The Outdoor Stage (outside of Buzzard Beach). D/WILL performs with Stik Figa at The Riot Room on Saturday at 11:30 pm.
 
 
 
–Michelle Bacon

Free Hit Counter

NYC

Artists on Trial: Shadow Paint

Posted on:
Though you may not be terribly familiar with them, Shadow Paint has been around Kansas City for the past year. Since vocalist Angela Schroder-Dill moved to Boston last summer, the rest of the band has played as Rooms Without Windows, but will reunite to play at this year’s Middle of the Map Fest. We talk with the band about its plans and its upcoming performance.
 
The Deli: Down and dirty: 1 sentence to describe your music. What is it?

Shadow Paint: For those who follow the life philosophy of “Game On.”
 
The Deli: What other artists are you looking forward to seeing at MotM?
 
 
The Deli: Tell us a little about Shadow Paint and the projects you are all in now.
 
Shadow Paint: We started in January 2012. We last played October 27 at a loft in Kansas City. Corey, Hanna, Chris B, and Chris T are in local band Rooms Without Windows and Angela moved to Boston and has joined an electronic project called Citrusphere. Angela and Corey have partnered up for LowGrumbles, sending tracks back and forth via email.
 
The Deli: Let’s talk about something you have coming up this year. What can we expect?
 
Shadow Paint: We have two songs available to download for free on our Soundcloud. With our members being split between Boston and KC, we don’t currently have any other shows lined up, but this is NOT the last of Shadow Paint!!! To hold you over, check out our other projects!
 
The Deli: What does supporting local music mean to you?

Shadow Paint: Going to local shows and dancing your heart out. Having a good time with the talented people in your community.
 
The Deli: Who are your favorite local musicians right now?

Shadow Paint: Hard to say, too many favorites, but one newish band we’re loving right now is Is Paris Burning.
 
The Deli: Who are your favorite not-so-local musicians right now?

Shadow Paint: Again, too many favorites, but if we had to name some: Wild Nothing, Cloud Nothings, The XX.
 
The Deli: What is your ultimate fantasy concert bill to play on?

Shadow Paint: Björk, Paul McCartney, Radiohead, Joy Division, and David Bowie.
 
The Deli: Would you rather spend the rest of your life on stage or in the recording studio?
 
Shadow Paint: On stage.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Shadow Paint: All four members of the Beatles, because their music continues to amaze and inspire.

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?

Shadow Paint: Just keep on laughing, loving, and living, and you’ll be okay.
 
Shadow Paint is:
Chris Brower – drums
Angela Schroder-Dill – vocals
Hanna Smith – keys, vocals
Chris Turner – bass
Corey Vitt – guitar
 
 
Check out Shadow Paint at Middle of the Map Fest next Thursday, April 4. They will be playing that evening at 7:00 pm.
 
 

–Michelle Bacon