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Album review: Jorge Arana Trio – Mapache

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Mapache, the debut full-length release from the Jorge Arana Trio, is both a throwback and forward-gazing: its simple blue-and-black-washed cover art hearkens to classic Blue Note albums of yore and its narrative thematic structure pays homage to the great concept albums of the past. The trio’s modern influences and distinctive voice carves out new territory of its own.

Leading the expedition are erstwhile members of Kansas City’s beloved experimental rockers Pixel Panda: Jorge Arana (guitar/keys) and Joshua Enyart (drums), joined by Jason Nash (bass).

These three adventurous fellows use their musical wanderlust to carve up twelve short sketches that cover free jazz, fusion, prog-jazz, metal, noise rock, and pretty much anything they deem necessary to move the story forward. Mapache, like its Spanish namesake, is a musical raccoon with its paws all over a number of genres, filching whatever and whenever it pleases.

“Bitter Era” opens the album demonstrating just this, embarking on a jazz odyssey with frenetic rhythms, dissonant plunking on the keys, and a grungy guitar before settling into a staccato groove that turns aggressive in the driving “Snake in the Grass.” A chorus of tribal voices lends a sinister air of foreboding before erupting in a hard rock finale.

Tracks such as “Nightly Stroll,” “Confrontation!”, and the playfully sinister “Short & Evil” make up a trilogy that heightens the sense of high stakes drama. The bulk of the album is packed densely with similar battle-music suites, highlighted by the aptly-titled “Catching Bullets with Your Teeth” and the bendy buzz-saw guitars propelling “Thieves Among Us.”

Early track “I’m an Omnivore” and the penultimate “Baptize Your Dinner” provide nice, contemplative free jazz reprieves from the cacophony. The album finale, “Ether,” returns us to the loose, improvisational spirit of the album’s opener before settling into an ambling, drunken strut, littered with loose keys, scratchy guitar strings and scattershot percussive asides.

There’s a strong sense of storytelling throughout Mapache, an orchestrated chaos. Stanley Kubrick’s Apocalypse Now didn’t improve upon Joseph Campbell’s Heart of Darkness so much as tweak its slow-burn descent into madness with psychedelia, machine gunfire, and stylistic bursts of dramatic flair. Jorge Arana Trio does the same here for the experimental jazz canon.

The clever and calculated Mapache stops just short of an uncontrolled acid jazz freak-out. Instead, it’s an invitation to embark upon a cinematic romp through a treacherous sonic wilderness, just beyond the safety of civilization–one that doesn’t promise to show you the way home.

 
Tomorrow marks the album release for Mapache. Join the Trio along with Quirk and Ruckus, Ambulants, and Mr.Marco’s V7 at Coda tomorrow, October 26, at 9:00 pm. Facebook event page. Mapache will be available in cassette or download form. 
 
 
–Vi Tran 
 

Vi Tran is currently acting in Bloody Bloody Andrew Jackson at the Unicorn Theatre through November 4. He’s also in Vi Tran Band and Hot Caution.

 
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Album review: The Caves – Duplexiaville

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When last we heard from KC quartet (recently upgraded to a five-piece) The Caves, they were supporting their five-song EP called, creatively enough, Five Songs With The Caves. It’s been a minute or two since then, and their live performances have solidified their reputation as a solid, cohesive act, but as with all bands who earn favor among their listening audience, said listeners have been patiently waiting for new music—a track or two would be performed here and there, and rumors of recording sessions would swirl in hushed tones among the faithful. That wait for new music has been rewarded recently with the release of Duplexiaville, a ten-track gem.
 
By way of comparison, and to see how their new album shows the evolution of the sound of The Caves, listen to one of their most well-known songs, “Liars” (which was included as part of the excellent Golden Sound Records/The Record Machine compilation Secret Handshakes). Whereas “Liars” is a mid-to-uptempo track featuring some pretty intense lyrics (the repetition of “I don’t believe in protecting liars” is a pretty effective verbal middle finger), you’ll find nothing of that level of bubbling-under angst in Duplexiaville. Here you’ll discover a group that has grown, individually and together, and has brought that growth to the recording studio, culminating in music that is wistful and winsome. There’s no rush in the pacing of this record, as the listener is taken on a gentle tour that takes its time in reaching its destination.
 
The overall sound can primarily be slotted into one of two categories: tracks like “Empty Sails” and “Give It Away Or Lose It” are rife with the trademark harmonic dissonance of Andrew Ashby’s guitar tone, while “Two-faced Folds” and “Feeler” offer slices of hypnotic dream-pop that would seem perfectly suited for an Olympic Size collaboration. You’ll also find a couple nice little detours on your aural adventure: “The Usual”, a bonafide alt-country work of art (just add a little Mike Stover steel guitar and shake well), and the album’s closing track, “Once And Astronaut All,” a lovely little ninety-second lullaby that sends the listener off to the land of hopes and dreams on the pillowy cloud of chords and notes that bring an end to the tour of Duplexiaville.

It’s a nice place to visit … and I think I’ll do so frequently. 

–Michael Byars

Next chance you have to catch The Caves will be on Saturday, November 24 at The Brick. They’ll be joined by Knife Crime and Tree.

–Michael Byars

Michael Byars currently has a pink goatee. No, it isn’t his natural hair color. No, he didn’t lose a bet. No, it has nothing to do with illicit sexual activities with Strawberry Shortcake. It’s in recognition of National Breast Cancer Awareness Month—and in recognition of his mom, who kicked cancer’s ass. Rock on, Michael’s mom!

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Album review: Ross Brown – Small Victories

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It would seem that Golden Sound Records has done it again with the release of Ross Brown’s sophomore album Small Victories. And by “it” … I honestly couldn’t define what that would be. A wonderful X factor that every release on the label embodies; full of catchy indie hooks and masterful production.
 
Taking quite the turn from his first album The Human Condition, Brown delves himself in an array of stylistic experiments. While The Human Condition emitted a consistent stream of indie riffs and beats, Small Victories changes styles with each track. From poppy synth sounds to music straight from the 1960s, Brown truly elicits his talents on this album.
 
The album kicks off with the track “Dishes,” an erratic show of one’s own bravado. “I stand above everybody else, and I am glorious” sort of thing. Listening to the instrumentals, it is hard to imagine that only one man put this piece together. Synthesizers, guitars, and miscellaneous percussion push the upbeat song along. The next few songs seem to have a certain someone in mind; songs about memories and human interaction. The liner notes state, “None of these songs are about you.” I guess we will just have to believe that.
 
“Laodicea” takes a somber tone as a song reveling in self-pity. Brown appears to pick out procrastination and a lack of skill sets as a personal downfall, exploring that part of him in the song. The sixth track, a personal favorite from the album, is a high-energy, synth-driven story of a song. You are almost forced to imagine the story unfolding in your head as Brown attempts to get to know a girl. Taking on the role of a fumbling, blabbering fool, Brown spews out lines like, “Did you ever eat paper as a kid?”, and “In a food crisis who among your friends would you eat first?” The tale of a poor kid trying to relate to a beautiful woman—an experience most men could identify with.
 
Another thematic shift brings us to “Self Interest,” which discusses several cases of self-centeredness. The classic rock and roll diddy of this song urges the listener to wiggle a little. Tapping your feet to the beat, the song is very catchy. The hooks readily implant themselves in your brain and it’s nearly impossible to walk away from this track without humming it in your head.

Being the frontman for Fullbloods, drummer of The Empty Spaces, and an operator of Golden Sound Records, Brown has his hands full. But despite all of that, he is able to put together Small Victories, a brilliant conglomeration of melancholy jams and upbeat anthems that is sure to win you over … pun intended.  

You can listen to some tracks from Small Victories by clicking on the album below.

–Steven Ervay

Steven is the intern of Midwest Music Foundation and The Deli – Kansas City. He can’t go to 21+ shows yet and that bums him out.  

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Artists on Trial: Deco Auto

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(Photo by Leah O’Connor) 

Some things never change. The sun will always rise in the east. The roadrunner will always outsmart the coyote. Clowns will always scare the crap out of at least 85% of the general population. Parents will truly just never understand. And someone, somewhere, will always be rocking the handful of familiar power chords that constitute “power pop.” Fortunately for Kansas City, Deco Auto currently occupies that role. Its brand of hook-laden, hard-hitting pop rock does justice to this often unjustly ridiculed genre. Recently, I got a chance to catch up with this swell trio of musicians. Here’s their take on music stuff, as well as a preview of their upcoming performance at Apocalypse Meow.

The Deli: Gun to your head, 1 sentence to describe your music. What is it?

Deco Auto: Extra-crunchy power pop.

The Deli: Let’s talk about what you have coming up. What can we expect?

Deco: Steve: Live via satellite from the International Space Station.
 
Tracy: I am most excited about possibly playing SXSW and more recording in 2013. In the near future, Steve is working on a Deco Auto Christmas song that I am super-jazzed about.
 
Michelle: Steve’s working on a Christmas song? Well, I’m very excited to play Apocalypse Meow and help make a lot of people aware of Midwest Music Foundation. After that, I am looking forward to a very long nap.

The Deli: What does “supporting local music” mean to you?

Deco: Steve: Giving local bands a chance. You’re not gonna like all of ’em, but there’s more to life than $100 concerts at the Sprint Center.
 
Tracy: Going out to see the local bands that you like. The recent MMF sampler (Midwestern Audio Vol. 1) showed me that every genre exists here and every band has to come from somewhere, so go see someone that’s up your alley.
 
Michelle: There’s at least a few shows worth seeing on any given night for under $10, being created by people probably in or close to your network. Help support and foster the talent around you simply by enjoying it and investing a small amount into it.

The Deli: Who are your favorite “local” musicians right now?

 
Tracy: Molly Picture Club and Schwervon!. They really do it for me.
 
Michelle: Too many! The Quivers, Ha Ha Tonka (semi-local), Schwervon!, Thee Water MoccaSins, Tiny Horse, The Grisly Hand, The Caves, many more. I like my other bands when they’re nice to me.

The Deli: What bands are you most excited to see at Meow?
 
Deco: Steve: The Empty Spaces are always always always a good time. And I haven’t seen The Architects since SXSW ’06, I think, so that’ll be cool.
 
Tracy: The Atlantic because of what I heard on the sampler and people have been saying really good things about them.
 
Michelle: Though everyone on the bill is stellar, I haven’t seen The Architects in years and I’ve never seen The Atlantic, so I’m stoked for those. It’ll also be great to see Tiny Horse playing Meow again, especially as a full band.

The Deli: Who are your favorite not-so-local musicians right now?

Deco: Steve: Bob Mould, Superchunk, Guided by Voices, and Deal’s Gone Bad.
 
Tracy: Legendary Hucklebucks: they are one of the top acts this year’s Rockin’ the Suburbs fest back in ol’ Beaver County. My friend Bill Mays III is also doing some really cool ambient stuff under the name Infinite Third down in Florida.
 
Michelle: Tame Impala, Esperanza Spalding, The xx, Dum Dum Girls, Liars.

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

Deco: Steve: The Cars, Buzzcocks, Superdrag, Smithereens… ya know what, I don’t wanna play this show, I just wanna watch it!
 
Tracy: Flaming Lips, Deco Auto and Clutch. This will never happen.
 
Michelle: We’d open up for David Bowie on his one-and-only reunion show that he would for some reason decide to do at the Kauffman Performing Arts Center. Radiohead would show up for an acoustic set too.

The Deli: Would you rather spend the rest of your life on stage or in the recording studio?

Deco: Steve: I used to really love recording, but I’m not ready to go back in there for a good long while.
 
Tracy: STAGE. HELLO!!!
 
Michelle: I love the energy of the stage, but I also have an annoyingly structured mind, so the studio is a good place to implement that. I’m also very indecisive. Moving on…

The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?

Deco: Steve: Elvis, Buddy Holly, Johnny Rotten, Joe Strummer… all are music idols of mine.
 
Tracy: Mozart, because it would be the world’s biggest bust of his head and we could get into the Guinness Book of World Records; Coltrane, baby. No explanation; Frank Black, because his bulbous head is the perfect shape to be immortalized in stone; Joey Ramone, because he is cool. (FYI: I have always been against landmarks like Mount Rushmore because they took a beautiful mountain and blasted it apart to carve the faces of politicians on the side of it.)
 
Michelle: Yo-Yo Ma, Yoko Ono, Ravi Shankar, and me. Just because I think it’d be great to see Asians on Mount Rushmore. And I only picked me because it was down to me and William Hung. America, can I be your idol?

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

 
Deco: http://www.facebook.com/decoautokc
http://decoautokc.com/
http://www.reverbnation.com/decoauto
http://decoautokc.bandcamp.com/
@decoautokc on Twitter

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

 
Deco: Steve: WARNING: Persons denying the existence of Robots may be Robots themselves!
 
Tracy: Words of wisdom. Legalize it!
 
Michelle: Read The Deli KC every morning with breakfast. They have a really excellent editor. Don’t toot your own horn, even in jest. Hug your mother.
 
Deco Auto is:
Steven Garcia – guitars, vocals
Tracy Flowers – bass, vocals
Michelle Bacon – drums
 
The next time you can catch Deco Auto will be this Wednesday, October 24 at The Riot Room, where they’ll be opening up for Reno Divorce (Denver) and Hipshot Killer. Then, be sure to see them at Apocalypse Meow on Saturday, November 3. They’ll take the Beaumont stage at 8:00 pm.

 –-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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Show review: Federation of Horsepower/The Heroine/Circle of Trust/Drew Black & Dirty Electric, 10.13.12

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(Photo by Randy Pace)

Davey’s Uptown Rambler’s Club played host to a sum-greater-than-its-considerable-parts show, headlined by hard-hitting KC powerhouse Federation of Horsepower and San Antonio rock act The Heroine. Local bands Circle of Trust and Drew Black and Dirty Electric rounded out the night, bringing speed, rock grooves, and swagger to the already promisingly heavy mix of styles.
 
Mr. Black and crew kicked the evening off with a dirty, infectious bounce in their step, the lyrical ironies favored by the frontman adding extra depth to their focused 4-piece rock sound and head-bobbing, hip-swaying catalog. New song “Curio Doll” was a standout, showcasing a disco-rebirth vibe that managed to fit smoothly in with their viciously catchy offerings. Dirty Electric’s well-honed rhythm section kept the bodies movin’ amongst both devoted and newly interested attendees.
 
Following Dirty Electric, Circle of Trust provided the evening’s first dose of metal guitars and blistering speeds. CoT put forth alternating tempos, deep growls and shouts, and the ability to dial back from full-bore metalocalypse levels for the sake of dynamics—a concept sometimes lost amidst bands of brutal BPMs and full-bore stage threats. Their style is worth noting; amongst the thrash and guttural vocals, the careful listener will discern melodies formed outside the strictures many similar acts confine themselves within.
 
As The Heroine took to the stage, the crowd’s anticipation for the San Antonio group’s set became palpable, and those who wait patiently are definitely rewarded. The Southern quintet quickly demonstrated total control of the proceedings, keeping eyes and ears firmly on themselves until the last chord had been struck. The Heroine’s Texas-tinged rock marries an edgy, soulful crunch with head-bangin’ breakdowns and a dose of good old-fashioned revivalist callbacks. Frontman Lynnwood King’s raspy screech and manic, hand-raised stage presence was perfectly complemented by the rootsy solos and thumping, driving rhythm section of his band brethren.
 
With most of the crowd left intact, ten-year scene veterans Federation of Horsepower calmly setup, preparing to establish their dominance over the weary, tired, and thoroughly inebriated. None were left wanting, as grungy, bluesy, full-bore rock punishment followed. Not even the scaling down of their sound just enough for Davey’s could hide a simple truth; Federation is undeniably built to be heard through 50,000 watts by a crowd of thousands. The driving root-to-arpeggio lines from bassist Johnny Catfish told the tale of how much horsepower the Feds can bring to any show, anywhere. Don’t let their longevity in the scene fool you—you should check them out now, and often.

 

–Mark Johnson

 

 

Mark is bassist, drummer, and jack of all trades in Dolls on Fire. He can pretty much do anything.

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On The Beat with Ross Brown

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Ross Brown is a jack-of-all-trades in Kansas City music. First and foremost, he identifies himself as a songwriter, soon to be releasing his solo album Small Victories. He’s also the beatkeeper of The Empty Spaces, frontman of Fullbloods, and an integral cog in Golden Sound Records. This week, we talk to Ross about all of his projects and find out what’s coming up. Catch the beat right here!

–Michelle Bacon

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New video: “Ocean” by The ACB’s

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"Ocean" is the newest release from The ACB’s off its upcoming release Little Leaves. Director Danny Joe Gibson creates a playful and entrancing stop-motion video, achieving the same effect as the music. The ACB’s have been able to inject a cerebral atmosphere with their music, while at the same time keeping it melodically sweet for a general audience. The success of their 2010 album Stona Rosa challenges the band to up the ante, but if "Ocean" is any indication, the new album could see the band take off in greater directions than before.

—Michelle Bacon

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Album review: Cher UK – Little Blue Soldier (EP)

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Cher UK has had more lives and iterations than the Saw, Halloween, and Friday the 13th movies combined. It’s the band that won’t die, and we’re all better for it. The recipient of Entertainment Weekly’s Band Name of the Week title for the week of Oct. 1, 1993, Cher UK has been around a couple of decades. 

It is high time the band provide the music-hungry masses with more music to stick on their iPods and phones given the band’s last recording, Berdella, was released about 15 years ago. Thus, Cher UK frontman Mike McCoy and bandmate/bassist Mark Reynolds make good on a promise and bless us with four tracks on the EP Little Blue Soldier. This iteration of Cher UK also includes Bernie Dugan on drums and Michael Stover on lead guitar, with a few special guests along the way.
 
Kicking off the EP is a song by the same name: "Little Blue Soldier." The song quickly reminds the listener of Mike McCoy’s witty songwriting. Take a portion of the chorus: "Must have been a brain lapse, maybe a collapse of your basic synapse. Hey, maybe you’re crazy. You’re tired of thinking and your thinking’s getting lazy," McCoy croons in a peppy tone. Rounding out the song is a bit of brass courtesy of Kyle Dahlquist on trombone and trumpet.
 
Dahlquist also makes a turn on "Peace, Love and Fun in the Sun." This song sounds like the band bought stock in some odd Beach Boys. However, it works out in Cher UK’s favor as the song provides a great beat for dancing and some of the most pleasant musical earworms you’ll ever encounter. "Reagan Versus NoLa" is largely instrumental and written by Reynolds. I imagine that a race car driven by guitars sounds like this song. It’s kept at a solid tempo by the drums. In short, it’s a rush of skilled playing.
 
Cher UK ends the EP with "Denny’s After Closing." Serenaded by Betse Ellis’ haunting violin playing, the song evokes memories of legendary nights out in Kansas City and makes you ache for another epic night in in the City of Fountains. People who have experienced a crazy evening in KC should be able to somehow relate this song and if they don’t, then they either aren’t human or have never really had fun.
 
I recommend getting your hands on the EP and relishing in its sound, wit, and earworms. As a whole, Little Blue Soldier is a little bit pop, a little bit country, and a little bit rock & roll, but nothing like Marie and Donny Osmond—testify! 
 
Cher UK will be releasing a limited-edition copy of Little Blue Soldier at Davey’s Uptown this Saturday, October 20. They’ll share the stage with Hotdog Skeletons and The Pedaljets. Facebook event here.

–Alicia Houston

Alicia Houston eats toast, drinks coffee and drives a car. Her view on the Oxford comma continually is up for debate. When she’s had a few beers, Alicia impersonates Katherine Hepburn. She has been writing since she was five and listening to music since she was born. She has a tattoo of a gray unicorn. The unicorn gives her advice and daily affirmations.

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Album review: Elyria – What Makes Us Who We Are (EP)

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Ripping into your ear holes with a righteous guitar scream right off the bat really catches your attention. Subtle synth sounds carry the high-pitched plucks into a full-fledged rock intro. The song (and the EP’s namesake) "What Makes Us Who We Are" is the first thing we hear on Elyria’s first album. Lead singer Kyle Ward tears in with the line “I can’t believe that it has been this long. But it’s safe to say that all your waiting is finally done.”

Elyria has been a passionate project for Ward for almost a year and a half now, and that first hook clarifies everything the band has worked up to. The fast-paced thrasher will keep your energy up throughout the entire album. Obvious pop-punk guitar riffs and almost metal drumming keeps your attention on the music. Masterful production keeps Ward’s lyrics loud and clear and guitarist Caleb Lumby’s work pertinent to smoothing out the song.
 
The songs selected for this EP carry a heavy, positive message for all who listen to it. The band focuses on their personal hardships on their walk through life. The lyrics explain how these are overcome and how they helped the two men grow as people.
 
It’s hard to imagine, while listening to this album, that Elyria is not a full band. One singer and one guitarist are all that it took to complete this project. Currently, Elyria is auditioning for an additional guitar, bass, and drums. If interested, contact the band directly on its Facebook page.
 

–Steven Ervay

Steven is the intern of Midwest Music Foundation and The Deli – Kansas City. He can’t go to 21+ shows yet and that bums him out.  

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Spotlight on Midwest Music Foundation and Apocalypse Meow with Abigail Henderson

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(Photo by Paul Andrews)

If you haven’t had yet been acquainted with Abigail Henderson, you haven’t had a chance to meet a person with an incredible passion for Kansas City, its music, and its musical community. The voice of Tiny Horse (as well as The Gaslights and Atlantic Fadeout) gives us some information on Midwest Music Foundation, a nonprofit organization that she heads that works toward emergency health care for those in the Kansas City musical community. She also tells us about Apocalypse Meow, a benefit originally created when Henderson was diagnosed with an aggressive form of breast cancer. Five years later, Meow has become a huge benefit for all local musicians. In her words, it creates a net for musicians when they fall.

Find out more about these programs and the woman herself at the link here.

–Michelle Bacon

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Artists on Trial: The Empty Spaces

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(Photo by Emily Hunt)

Our Artists on Trial series will be featuring bands that will be playing Apocalypse Meow, Midwest Music Foundation‘s big annual benefit for musician health care. We will be featuring more on Apocalypse Meow in the weeks before the show, which is November 3 at The Beaumont Club. The Empty Spaces will be one of the bands playing the event.

The Deli: Gun to your head, 1 sentence to describe your music. What is it?

The Empty Spaces: Missouri River serf rock.

The Deli: Let’s talk about what you have coming up or have released lately. What can we expect?

TES: Our music video for "Holidays Are Nice And Warm" just came out and has gotten a lot of positive attention. We will be playing Apocalypse Meow at The Beaumont Club on Nov 3. We are also opening up for Broncho on Nov 30 at Czar. At the same time we are getting new songs put together and will be starting to record our third studio album at the start of 2013.

The Deli: What does "supporting local music" mean to you?

TES: Our favorite way to support local music is by making local music. We are also very proud to be a part of Golden Sound Records. It also helps to go out to local shows and sometimes even pay to get into them!

The Deli: Who are your favorite "local" musicians right now?

TES: Mat: Shy Boys.
Ross: The ACB’s.
Will: The Architects.

The Deli: What bands are you most excited to see at Meow?

TES: We are very excited to see the great crowd supporting MMF. They are an amazing organization for Kansas City. We’re also very excited to be playing with bands like Deco Auto and The Architects.

The Deli: Who are your favorite not-so-local musicians right now?

TES: Mat: Ty Segall.
Ross: Django Django.
Will: The new Murder By Death album kicks ass.

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

TES: Roger Miller opens up. Followed by The Ventures. Then us, of course. Fela Kuti closes the night.

The Deli: Would you rather spend the rest of your life on stage or in the recording studio?

TES: Mat: Studio.
Ross: I don’t know, man.
Will: Stage.

The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?

TES: Joe Strummer, Neil Young because he’s Canadian, Harry Nilsson, and let’s keep George Washington up there so they don’t have to do so much renovation.

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

TES: theemptyspaces.com
http://facebook.com/TheEmptySpaces
Twitter: @tesband
Instagram!: TheEmptySpaces

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

TES: Party! And don’t drink the cheap stuff.

The Empty Spaces are:
Mat Shoare: guitar, lead vox
William Brent Wright: bass
Ross Brown: drums

The Empty Spaces seem to keep themselves pretty busy. As mentioned, they will be playing Apocalypse Meow on Saturday, November 3 at Beaumont, taking the stage around 9 pm. Don’t miss them!

–Michelle Bacon

Michelle is editor-in-chief of The Deli – Kansas City. She also has a weekly column with The Kansas City Star and reviews music for Ink. She plays with Deco Auto, Drew Black and Dirty Electric, and Dolls on Fire. She was voted by readers of The Pitch as Kansas City’s "Best Sexy Musician." That’s not even a joke, but she feels it should be. 

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