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Album review: Gentleman Savage – Open Eyes (EP)

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I always enjoy hearing new bands that fully understand their influences, but don’t crutch on them. True musicians don’t simply regurgitate what the greats of old have done—they nod their caps to their predecessors and then find a way to push the musical bar higher and higher. Gentleman Savage has figured that out. Its brand of bubbly, ’60s-infused synth pop is a dynamic and powerful melting pot of old and new.
 
"Overlord": Two minutes and fifty-eight seconds of high-energy, guitar-driven pop. The song works itself up to a fever pitch in the middle through the playful interplay of a well-written, breakdown bridge. Followed by the closest thing to a "face-melting” guitar solo you can get in this style of music, the song ends by trailing off over the chorus. Definitely a solid opening track. I imagine it as straight off the soundtrack of the long overdue made-for-TV movie version of The Wonder Years.
 
"Open Eyes": This is my favorite song on the EP, as I am a sucker for the “chug” punk beat. It sounds like The Animals stumbling their way onto Oasis’s tour bus, only to quickly realize that they needn’t stay too long. Again, it features a great late song breakdown, with harmonized falsetto vocals leading the listener by his willing hand back into the final chorus. The vocals are a clear focus and strength of this band and they are used to greatest effect on this track.
 
"Death in the Springtime": The most “psychedelic” of the bunch, it’s also the hardest for me to put my finger on. The beginning immediately brings to mind the droning indie styles of Bat for Lashes or Feist. The stripped-down emotional choruses take me to nervously slow dancing in the high school gymnasium (well, at least how John Hughes would explain what dancing in a high school gym would sound like). But just when I accept my Simple Minds fate, Gentleman Savage once again picks up the intensity through a series of distorted strains. The effort bellows with a full head of dissonant steam until the falsetto harmony vocals once again emerge and offer a serene bridge of sunlight back down out of the clouds and all the way to the last satisfying chord.
 
The best part of this EP? It leaves you wanting more. It is a solid release worthy of many thorough listens. The music of Gentleman Savage comes out like Gemini Revolution, The Quivers, and Thee Water MoccaSins all wrapped up in one vintage psychedelic pop blanket (which, by the way, these four bands on a bill would be spectacular. Someone make that show happen. Do it. Do it now.).
 
Catch Gentleman Savage on November 9 at Czar with Molehill, The Future Kings, and Little Rosco (Facebook event here). And be sure to pick up a copy of Open Eyes, which is now available.

–-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: Stiff Middle Fingers – Enemies with Benefits (EP)

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Maybe it’s the economy. Maybe it’s the layoffs I recently witnessed. But Stiff Middle Fingers‘ Enemies with Benefits EP resonates. The guys in the Lawrence-based band live up to their name. It’s a big "screw you," but you can’t be mad because the band provides a good set.
Stiff Middle Fingers brings a nice combination of howling vocals, raging guitar, pulsating bass and pounding drums brought to you by Travis Arvey (vocals), Cameron Joel Hawk (guitar/some vocals), Barry Swenson (bass), and JP “Heeps” Redmon (drums). These local band stalwarts already have street cred; this is just another avenue to display their talents.
The opening song “Common Cents” is especially strong. You can’t help but feel the band’s fury at the concept of becoming a slave to money and the value society puts on it. “The only change I’ve ever found is when I see a penny on the fucking ground. Now that I’m old, I don’t waste my time picking that shit up unless it’s a dime,” Avery screams and laments while Hawk, Swenson, and Redmon concur in agreement through their instruments of choice.
Songs on the EP are short, but memorable as if to say: “We’re here to party our asses off and then leave just to make you wonder what the fuck just happened?!” The instrumental riff on “Love Song” is especially catchy. The song starts with a nice drum intro but doesn’t leave you waiting like that guy you met at the dive bar who swears you’re hilarious and will call you. It provides instant gratification. It’s short like most bar relationships. But it just lets you know it’s over by quietly fading out.
And if you’re looking for rage, listen to “World’s Biggest Guillotine.” It really can’t be missed. This song is what you should listen to after a bad day unless you are overly prone to suggestion. If that’s the case, you should probably listen to Yanni or Kenny G because you’re weak.
Overall, Stiff Middle Fingers give a stout recording debut. I recommend listening to this on speakers (not your laptop). Also, don’t listen alone. Invite people over, put plastic on the floor and then start full body thrashing, dancing and hip checking while drinking. I am certain this will greatly enhance your listening enjoyment.
If you’re interested in an inexpensive all-out punk show, Stiff Middle Fingers will be performing with Mr. and the Mrs. and 69 Noses at Replay this Saturday at 9:00 pm. Facebook event page 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: Midwestern Audio Vol. 1, from Midwest Music Foundation

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(Design and illustration by Ryan Comiskey)

With a generous helping of diverse musical ranges and genres, Midwest Music Foundation‘s Midwestern Audio Vol. 1 is undoubtedly The Deli KC’s October CD of the month. Including 41 tracks from some of Kansas City’s most talented musical acts, there’s something for any musical fan.

The double CD compilation was assembled by Brenton Cook. It ebbs and flows between catchy pop beats and psychedelic freeform sounds, and then between metal and gentle folk tunes. The album bursts out of the gate with "Coming On" from Antennas Up. The band’s smile-inducing, warm harmonies gear the listener up for what’s to follow. Everyday/Everynight transitions in smoothly with "Body Electric," a more ambient, darker sound, but containing the same exuberance as the lead-off track. By track three, the listener is sucked in. Though "Fanclub" is tinged with a dark mood, it’s an intensely danceable song that gives us a sampling of the characteristic style of Molly Picture Club.

And this is how smoothly the compilation rolls through. Each song flows into the other, even if it transitions from a straight hip-hop jam like Reach‘s "Move" to Be/Non‘s beatastic mindfuck "Yoko’s Alright." One of the most brilliant parts of this compilation is the gems that can be found throughout. Some of Kansas City’s most well-known bands like The Hearts of Darkness and The Latenight Callers are featured alongside newer acts like Schwervon!, relatively unknown bands like Eyelit, and established local legends like Howard Iceberg. Each track stands on its own feet but collectively breathes the spirit of Kansas City music today.

Les Izmore‘s rhythmic flow in "Debt on Me" delivers just as strongly as Marco Pascolini’s squealing guitar in "Sparkin Your Mama Sweet 2," and also in "King of the Soapbox Derby." The album comes to a twisting downturn in Cowboy Indian Bear‘s "The Hunter and the Hunted," and briefly exhales at "Six Foot Dreams." And that’s just disc one.

If unprepared, "Diablo Diablo" will blow the listener away with John Bersuch’s tribal drum beats. The second disc gives no warning that it will relentlessly but pleasantly bash you with infectious pop hits from The ACB’s and The Empty Spaces into fiercer, bolder rock from The Beautiful Bodies, finally toppling you over with Terra Peal‘s brazen, unbridled screams in "Blue Light." Then another short breath into Lauren Krum and Jimmy Fitzner’s serene country vocal melodies, and the album takes a rootsier direction, which builds up to crotch-kicking screams from The Atlantic and double-bass tremors from Hammerlord. Yet again, it manages to cool itself off into an assuaging denouement.

First, it winds its way back into a hypnotizing tone from Expo ’70 and Umberto and levels off with entrancing but accessible offerings from Akkilles and Katlyn Conroy’s project La Guerre. In the last moments of the compilation, we get a prolific, sincere delivery from Abigail Henderson. There seems to be no more fitting of a choice to end this album than with the intimate sounds of Tiny Horse in "Ride." The honesty of this final track makes it an astounding culmination of songs from a bill of fine acts. The emotions gleaned from Henderson’s words and Chris Meck’s complementary guitar melodies speak the strongest volumes of any track present. And with that heartstring-tugging grasp, it lets go.

–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. Her favorite pastime is wearing hoodies and drinking hot tea.

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On The Beat with Solomon Radke

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In a very short time, St. Joseph brothers Radkey has taken the Kansas City area by storm, and beyond. They recently wrapped up a headlining show in Lawrence, just finished a music video in Brooklyn, and played the Afro-Punk Festival. A third of the band’s success is due to Solomon Radke, who pummels the drums with purpose and can show up any veteran drummer. Find out a little more about one of the youngest, most talented drummers on the scene right here!

On The Beat is typically brought to you by Sergio Moreno, but has been overtaken this week by editor Michelle Bacon. This weekly interview features some of the many talented drummers in the area.

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New video: “Hangover Blues” by Making Movies

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The Record Machine has released the new video from Making Movies, "Hangover Blues." The video gives us a snippet of the band’s exhilirating, sexy, costumed live shows and highlights some of the best features of Kansas City. Watch it for cameos from KC musicians Mark Lowrey and Hermon Mehari, and appearances from venues like CrossroadsKC at Grinder’s, Czar, The Union, The Cigar Box, Gusto, Mutual Musician’s Foundation, and YJ’s.

For a short time, you can also download Making Movies’ EP Aguardiente for free at the link below.

Check out the band’s upcoming tour dates:
10/4 Columbia, MO – The Bridge
10/11 Chicago, IL – Subterranean
10/12 North Liberty, IA – The Palms
10/13 St. Louis, MO – Plush w/Los Lobos
10/14 Dayton, OH – Blind Bob’s
10/16 Brooklyn, NY – The Rockshop / Mecca Lecca & The Record Machine CMJ Party
10/20 Burtonsville, MD – Blue Beetle Rock Bar

If you don’t happen to be in any of these locations, be sure to head to recordBar on Saturday, October 26, where the band will be playing and celebrating Dia de los Muertos. DJ Brent Tactic will also be spinning tunes. Facebook event page.

–Michelle Bacon

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Album review: White Girl – EP Two

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The intro track, “We Will Never Die” kicks off White Girl’s EP Two with an explosion of feel-good dance rock. This track would make Passion Pit and Temper Trap shake their heads for not writing it first. What sets “We Will Never Die” apart from the rest of the songs on the album is the complexity in its rhythm, which bounces seamlessly between 6/8, 4/4 and 2/4. While it’s easy to dance to, I do not suggest air drumming to this song unless you are a professional. Frontman Martin Bush introduced me to this song last weekend. When the vocals kicked in, I asked if he was a fan of Animal Collective. He grinned and gave me a big nod. My personal opinion is that “We Will Never Die” is the best track on this finely crafted record.
 
Shifting the feel of the record, “Captain to Copilot” shows a glimpse of the dynamic songwriting abilities that White Girl has to offer. The reverb-filled opening guitar riff that remains somewhat constant throughout the song gives a sense of longing. Vocally there is a hint of Beach Boys influence that floats smoothly over this synth/bass-heavy track. The gigantic-sounding drums that appear midway through drive this song home.
 
If you aren’t dancing yet, “Setting Fire” will change that instantly. This song will grab you with its beautifully clear synthesizers and crisp guitar tones. The four on the floor, kick/snare/high-hat combo, and grooving bass hold a solid foundation for Martin’s ambient voice. The poppy progression of this song is reminiscent of Hall and Oates and Talking Heads. Extremely catchy, “Setting Fire” is a dance anthem that any DJ would be lucky to remix.
 
After its beautiful multilayered synth-intro ,“Last Men Standing” erupts into ambient glory. The tone of every instrument on this song is exquisite. Its hopeful chant/sing-along chorus is extremely uplifting and dreamy. This is a song that would be great to listen to first thing in the morning, on the roof of a tall building while the sun is just on the horizon.
 
The electronic side of White Girl makes its largest appearance on the EP’s final track “Lament.” Most of this final tune is Bush singing into a vocoder, and is a heart-touching ballad that is based off the epic poem “Rhyme of the Ancient Mariner” by Samuel Coleridge. As his story builds, bit-crushed drums and atmospheric synthesizers build with him until they both reach a climax and drift away. This intimate song is the perfect track to end a well-rounded EP.
 
For fans of: M83, Hall and Oates, The Appleseed Cast, MGMT, Animal Collective, U2, Talking Heads, Passion Pit, Temper Trap, Empire of The Sun, and The Beach Boys.
 

White Girl is:
Martin Bush: Vocals/guitars/keys
Skylar Mcclun: Keys/guitars/vocals
Matt Epstein: Guitars/vocals
Nick Organ: Drums

EP Two will be released tomorrow, October 5. You can catch White Girl at the album release party on Friday, October 25 at The Union with special guests The Atlantic and Sphynx. The band will be touring the East coast this fall, and you can find their tour dates at http://www.whitegirl.org.

—Eric Fain

Eric plays a mean bass for The Atlantic.

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Album review: Chocolate Velvet – Moan (EP)

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Chocolate Velvet‘s EP release Moan is the brainchild of the prolific William (Scott) Chaffin, a songwriter who is also brain-rearing tunes for The Black Bullet Promise and Vitae and The Pale Horse, among other artistic endeavors. This 5-song collection of new and previously unreleased material is very much reflective of the pseudonym under which it resides: smooth, dark, and textured. 
 
I listened to this release a few times during the daylight hours, wishing for a long drive at night to thoroughly devour the subtleties hidden in Chocolate Velvet’s songs. The feel of this EP, more emotionally than sonically, has the depth of "In the Air Tonight" (pre-drum intro), with a contemplative lyrical element paired with electronic grooves, never going over the edge, never straying too far from it. 
 
The release begins with "Moan," a steady, ambient song held together with a synth line and layered atmospheric guitars that support Chaffin’s edgy vocal delivery. This song as an opener is a great introduction for the rest of the songs on the EP: cool, collected, and riding on a deceptively simple groove that proves to be haunting and direct at the same time. "Tomorrow is a Witch," my personal favorite, works in a marimba-style beat while maintaining  good electronic dance music posture. Vocally, this song brings Chaffin front-and-center with a vague resemblance of Peter Gabriel, with a floating, rhythmic cadence while proclaiming "Tomorrow is a witch that is drowning to pay." "Emotion" follows with a more emotive hip-hop delivery, with use of auto-tune, but used in a context that’s less Top 40 than most are used to hearing it in. The 80’s groove of "Joker" moves along on a synth line that makes room for layered electronic noises and piano that supports Chaffin’s warning, "You’re better off lying cause they’ll put you in a cage." This track is both danceable and cerebral in its elements and provides for solid foot tapping or existential deliberation, whichever floats your boat. The EP concludes with an instrumental version of the title track and shows the layered beauty Chaffin has the ability to conjure through the use of space and timing.
 
This is a modern and, at times, ethereal release from an artist that deserves recognition for his songwriting across all his projects, and in particular, for his ability to shift genres without much crossover from one to the other. You can follow the man himself on Twitter @ticketforone.

—Mike Tipton

Mike is a KC native that enjoys new music and playing with his band, Molly Picture Club. He also enjoys people watching and documentaries by Ken Burns.

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Album review: Sons of Great Dane – You Can’t Lose It All, All At Once (EP)

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“To A City I Have Known” opens Sons Of Great Dane’s newest release You Can’t Lose It All, All At Once. It begins with an up-tempo drum beat and throbbing guitars that almost instantly drag out my favorite pastime: nostalgia. I’m eighteen again, I’m on a road trip, and all I want to do is drive and let my mind wander. I know already that this album is a soundtrack to those moments.

Brent Windler’s voice enters, “She gave her heart away, Down highways that leave you up north, to a city that dreams with you,” and I start listening closely. He’s describing moments. If they are memories, or maybe drunken and broken flashes, I don’t know, but my thoughts follow him through a wandering narrative.
 
The heartache he is describing and the charming and tragic picture he is painting are defeated, though not entirely, by the exultant explosion of a very catchy and harmony-laden chorus.  I am now singing along. Flattering melodies between Windler and EvanJohn Macintosh’s guitars build and wane, filling the whole room, but never losing pace. The song ends with a chord made to sound like the lasting ring of a bell underwater. There are still three songs I haven’t even listened to yet.
 
“Love, Desire, Failure” lilts and bobs, with the predominant instrument played being everyone’s heartstrings. With a refined bass line from Nolle Bond and a shrug, it works its way into a pretty anthem for a short time and leaves you feeling peaceful and triumphant.
 
“Approximately 18th St” brings back the momentum with panning guitars, always driving but never angry. Eventually it turns on you, into a three feel with daunting melodies and haunting vocals, and then picks back up where it left off, pacing to the finish with some excellent drumming from Brendan Culp.
 
The last song on this album, “For You And Me,” is like an after-dinner mint; relaxing and simple, with a few lovely lyrical moments.
 
Recorded by Paul Malinowski at Massive Sound and released by Sharp County Records, this recording is well-balanced, subtle, and memorable for it.
 
Sons of Great Dane will be performing on a local all-star bill this Saturday at The Brick with The Dead Girls and Radkey. Be sure to check them out.

–Megan Zander

Megan fronts ProgPop band Dream Wolf. Loves her cat, scootering, and dancing. Hates horses.

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Album review: (the)medicine theory – What the Fuck Are You Lookin’ At

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If you haven’t seen (the)medicine theory recently, or at all, here’s a quick primer: for quite some time, this experimental noise-rock band played upon a well-earned reputation for scaring the bejeezus out of unsuspecting audiences with their hyper-aggressive and antagonistic approach to music, daring those in attendance to endure their onslaught (a challenge this reviewer is proud to say he completed on more than one occasion). With the release of their new EP, What The Fuck Are You Lookin At, Jeff Irvine and Tyson Schroeder are still trying to take control of your soul, but their approach has taken a 180-degree turn: they now do so with subtlety rather than sledgehammer blows… vocal distortion rather than primal screams… assimilation rather than terrorization.

WTFAYLA offers music that is industrial, futuristic, and robotic—all of which are highlighted in the opening track, “The Fall": 87 seconds of the sounds of war being waged in the listener’s mind by battle machines of great menace. The next song, “I Killed Amanda,” is the most up-tempo of the EP; this and a brief section toward the end of "Summer" are the only hints at the previous intensity and fury of (the)medicine theory. WTFAYLA contains seven tracks and clocks in at a bit more than twenty minutes, seven-and-a-half of which comprise “Wash," which is a brilliant demonstration of the sinister slow-burn. Area haunted house mainstay The Edge of Hell would be well-advised to license this track and play it on an unending loop.

The album closes with another sub-two-minute experience, “Stair Chase." After lighting a cigarette, Schroeder walks into a stream-of-consciousness monologue which one would picture Professor Stephen Hawking delivering after being fed a steady diet of Bauhaus and Kerouac. The oration of the lyrics and the sound of a piano being played in every non-traditional way you can imagine battle for the attention of the listener until the very end, concluding with the words “and then he tore apart my throat” …

… and (the) silence is deafening.

(the)medicine theory is currently working on Versificator, its new album, and will be taking a short hiatus from playing shows for a bit. For now, check out the current album on Bandcamp.

–Michael Byars

Michael is the host of The Mailbox, a weekly podcast that offers new music, concert info and news about the Kansas City area and more. In his spare time you might find him looking for some good live music, particularly at a certain bar that has lots of records. 

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Show review: Midwestern Audio Compilation Release Party, 9.23.12

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(Photo of Everyday/Everynight)

More often than not, a bill of diverse acts just doesn’t work. When you’re a show promoter, you typically don’t set up a group of guylined cock rockers with a charming folk duo. 

Fortunately, sometimes it runs smoothly and flows naturally. The Midwestern Audio, Vol. 1 double CD compilation from Midwest Music Foundation glides smoothly along, just as its release party did on September 23, featuring six acts featured on the compilation.
 
Gemini Revolution, opened up the night with an avant-garde, psychedelic, chilling performance. The trio returned only days before from performing POP Montreal, and left the trickling-in crowd wanting more. Dedric Moore, Delaney Moore, and Mika Tanaya are also part of the experimental and somewhat more accessible Monta At Odds, and brought an otherworldly, intergalactic vibe to their music. Whether this form of free jazz infused with electronic pop is your cup of tea or not, there was no doubt that Gemini Revolution played music on its own terms, and brought an eerie, nail-biting soundtrack to get the evening started.
 
 
While Gemini Revolution set up the scene for the evening’s festivities, the next act took it to an exhilarating apex. Reach brought a compelling performance with help from the Diverse jazz trio. Witnessing each act on its own is a spectacle of musicianship, ingenious lyrics and astounding rhythms, but the combination of the two put the audience in awe of its splendor. While Hermon Mehari supplied smooth, poignant trumpet melodies, the rhythm section added a compelling, vital component that the audience couldn’t take its eyes off of. And then there’s Reach, who has proved in his years of being an emcee in Kansas City that he has true starpower and talent, with the rare ability to keep a crowd energized while depicting real life in brilliant rhyme schemes.
 
 
The natural progression of a psychedelic trio to a jazz/rap collective to jazz/blues swing group may seem like an odd mashup, but Grand Marquis provided a refreshing backdrop to a lineup that continued to build in dynamics and potency. This five-piece group—who recently recorded a session at the historic Sun Studio in Memphis—made sure the mostly indie pop/rock audience would take notice and spring to its feet. Dressed to the nines, Grand Marquis helped transform the recordBar into a speakeasy for about 45 minutes. The group played a mix of big band standards and originals with a swinging New Orleans jazz flair. Like Diverse, Grand Marquis reminded us of the vibrant history of Kansas City music, but also showed us how the sound remains relevant today.
 
 
The last two bands of the night provided the crowd with the heaviest dose of indie pop and rock. Antennas Up highlighted the show with its signature dancey, mind-melding synth pop power. Complete with The Ryantist’s Space Invaders drum kit, the energetic four-piece took us on a stellar ride through the universe, but not in the same way as Gemini Revolution. As the night’s opener astonished the audience with its finesse of taking unstructured music and making it accessible, Antennas Up blasted the crowd into space with clear vocal harmonies and plenty of boops and beeps to keep listeners intent on their aural surroundings.
 
 
Everyday/Everynight wrapped up the evening in true form to any headlining act. Shimmering guitars, echoing vocals, and enormous atmospheric noises made the group’s music simultaneously beautiful and excitingly aggressive. Frontman Jerad Tomasino took a moment to acknowledge Midwest Music Foundation for putting together a free local compilation, which includes 41 tracks from some of the most talented musical acts in the area.
 
You can find tracks from all of these acts on the Midwestern Audio, Vol. 1 compilation. It’s available for FREE at Love Garden Sounds in Lawrence and other stores around the Kansas City. Brenton Cook, who compiled the CD, will be handing out copies this Saturday at Earwaxx Records during an in-store event with featured bands Be/Non and Appropriate Grammar. It’s also available for download at the Bandcamp link below.
 

–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 flosses daily. Do you?

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New singles from Radkey, Umberto, The Clementines, Dream Wolf

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(Photo above of Umberto at Replay Lounge, taken by Michael Byars)

Radkey – "N.I.G.G.A. (Not Okay)"

There’s a lot of buzz surrounding young rockers Radkey. The group’s new single “N.I.G.G.A. (Not Okay)” is testament as to why that’s deserved. The song would fit very comfortably tucked away in a Misfits or Ramones playlist. Fuzzed-out guitars, a driving beat, and some impressively strong vocals make this rocker aggressive, while the infectious fist-pumping chorus allows for repeated listens.

–Travis Stull

Umberto – "The Investigation"

On its Facebook page, Umberto is listed as a four-piece electronic-rock band whose home base is Carson City, NV; recently Matt Hill took a solo turn behind the laptop as opener for Moon Duo at the Replay Lounge in Lawrence, KS. “The Investigation” starts off as homage to Nine Inch Nails with its slightly-slower “Closer” marching tempo, which gives way to the more ethereal sounds of bell-like keyboards and distant, tortured choirs about a third of the way through. The rest of the track includes 80s synthy effects given a modern heartbeat – overall, a hauntingly captivating effort.

–Michael Byars

The Clementines – "Bayou"

The Clementines have made strides since emerging as an acoustic duo in 2011. Since then, they’ve become a 4-piece, filling up a bluesy rock sound with a propelling rhythm section. "Bayou" begins with drummer Stephanie Williams’ consistent driving beat, and eventually is carried out by the soulful, blues-influenced voice of Nicole Springer.

–Michelle Bacon

Dream Wolf – "Astro Wolf"

"Astro Wolf" feels like a psychedelic excursion onto the moon. Galactic high-octave keyboards kick off and soar across the song. Elements of glam and prog rock enter in, gravitating the listener between a slow journey and a rapid ascent. A confident vocal delivery from Megan Zander and backup vocals from Katelyn Boone and Chris Tady only add to the song’s ecstatic, harmonious voyage through the cosmos.

–Michelle Bacon

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Show review: Crossroads Music Festival, 9.8.12

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(Photo of Rural Grit All-Stars at The Brick, taken by Michelle Bacon)

By the time I had made it to the Crossroads Music Festival, entertainment was in full swing. I had opted to take the "knowledge" approach to the fest, seeking out only bands that I had yet to experience. Thankfully, the lineup was packed with fresh names, mostly due to my overwhelming tendency to not leave my house.

Due to a pants/dryer fiasco that had plagued me for the better portion of the evening the first set I was able to catch was The Hillary Watts Riot at the Midwestern Musical Company stage. The first thing I noticed while walking in was the room. With guitars at every angle and pop art and vintage toys lining the walls, the space is easily in the running for Kansas City’s best hidden gem. Shove the extremely energetic Hillary Watts Riot in the room and you’ve got a winning combo. Though the band will fuck with your mind like a drunken kitten, the Devo meets B-52 mashup is the type of music you have to stop, think over, digest, process, then accept. However, unique is the fact that while deep and complex it remains fun and approachable on the surface. With a pinup doll look and sunglasses-at-night image, the pedal-heavy band kicks in your teeth with plenty of reverb and a chaotic sound. With glimpses of punk reflecting off the glitters of glam, the band’s sound bounces all over the place. 1990s sound bites bleed through the 1980s influences. Mixed with their witty banter, this band is entertainment at its best. Show up to catch them if not only to catch their drummer (Sergio Moreno) rock his flashlight hands mid-set.

From there, I wandered downtown towards The Brick to catch Victor & Penny. I had wanted to catch their antique pop set for a while, but could never manage to get their schedule to align with mine. In addition, their tour schedule has been nothing to scoff at. Neither is their live act. Victor (Jeff Freling), who runs his vocals through a vintage throwback radio, is a treat to watch. His guitar chops are stout and his rockabilly licks are well-rehearsed and down pat. Paired with the beautiful Penny (Erin McGrane), who rocks a tiny uke and a sunshine smile, the group is unstoppable and refreshing. Her act has a bit of snarl to it, growling when you least expect it. She is also in full control of her facial expressions, turning them on at all the appropriate moments. She is the perfect front lady and in full control of her craft. She knows her charms and makes certain that her audience is enlightened of them as well, as she swims through her 100-year-old material. Of all the sets of the night, this one was the hardest to leave early.

Begrudgingly, I meandered toward the Czar Bar to catch John Velgne & The Prodigal Sons. Sadly, I wasn’t able to get a fair judgment of their sound due to an overwhelmingly extreme use of soundboard. Turned up to 11, the band’s layers and depth were missing, buried somewhere in a clutter of echo and earplugs. You could, however, gather the way the horns filled the room. Making note of their E Street ways, I gave my ears a break and headed back toward Midwestern Musical Company’s setup for Dim Peepers.

Sporting a suitcase bass drum, kazoos, a homemade washtub bass and tiny horns, Dim Peepers won my heart and the award for the fest’s most unique band. With a fantastic do-it-yourself sound, the band owned the room, the crowd, and in my humble opinion, the fest. Requesting that I not be afraid to get drunk and make a fool of myself, I lived wildly. I didn’t take notes and instead danced a little. Just a touch. Not enough to be noticed or lose my reclusive wallflower status, but enough to feel silly. Good times.

From there, I lurked at the Midwest Music Foundation tent, listening to Hearts of Darkness and watching cougars shimmy across the parking lot. Even from my lawn chair, I found the set enjoyable. The female vocals belted across the city skyline as people danced (poorly and drunkenly) in the wood chips. After a nice break, I bolted for Appropriate Grammar down the street.

Shifty eyed and crooked smiled, the band brought its best chops and left their R-rated jokes at home (due to parents in the room). With great guitar riffs and power-pop hooks slamming into the occasional alt-country structure, the band is somewhat unique to Kansas City. Think Rhett Miller without the band bleeding all over the stage emotionally. The charming female "ohs" blended well with the male vocals and seemed to fit flawlessly over the band’s epic drum usage. Sadly, battling Hearts of Darkness, the band played one of the fest’s most promising sets to an almost empty room. Take note of that and catch them when you can.

Starhaven Rounders would serve as my next adventure of the evening. I mean, can you think of a better follow up to power-pop than a country cover band? Nope. I didn’t think so.

There is a bit of irony to my catching this set. As I sat in The Brick in a purple emo hoodie, rocking a fairly impressive-sized jewfro, one would never assume me the type to catch the latest gossip at the honky-tonks of Nash Vegas. But honestly, is there anything better than a good, solid country band? With slide guitar, violin (called a fiddle in this case) and sad bastard lyrics. The interactions of a good country band are without question better than anything that any other genre can offer. There is nothing more real in music. Hearing our local member crank out Don Williams, Merle Haggard, and Johnny Cash makes me both proud and disappointed in Kansas City. This sound is something we could use more of (says the emo kid). We can debate this if you want, but before we do, I challenge you to catch this band and tell me that they don’t possess some of the finest instrumentation in the 816.

If you can debate convincingly, I’ll buy you a beer. I’ll be the one wearing the cat shirt.


The Hillary Watts Riot at Midwestern Musical Company (Photo by Michelle Bacon)


Bill Sundahl, Crossroads Music Fest organizer (Photo by Todd Zimmer)

 
Kasey Rausch, Mikal Shapiro, and Shane Ogren at Czar (Photo by Michelle Bacon)


Thom Hoskins at Midwestern Musical Company (Photo by Todd Zimmer)


The Supernauts at Crossroads KC at Grinder’s (Photo by Todd Zimmer)

–Joshua Hammond

After stints drumming for both The Afternoons and Jenny Carr and the Waiting List in the Lawrence/Kansas City music scene, Joshua Hammond found his footing as a music journalist, launching the national publication Popwreckoning. After running the show as Editor in Chief for 6 years, Hammond stepped away from the reigns to freelance for other publications like Under The Gun Review and High Voltage Magazine. This shift allowed the adequate amount of time for him to write passionately, allow the Kansas City Royals to break his heart on a daily basis and spoon his cats just enough that they don’t shred his vinyl. 

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