(pictured above: Oriole Post)

Olassa

Georgia Gordon

She’s A Keeper

Stephen Paul Smoker

The Hearts of Darkness

Man Bear seems to be taking orders from a higher power. First, bring back the loud. Second, focus on the short pop song.  Third, don’t work too hard at it.

This is what we got from Man Bear’s set Saturday at The Riot Room. The local power trio took us back to the early ’90s, when punk wasn’t shiny and clean but after it had been fully Americanized. Theirs is a style that retains its pop sensibility beneath waves of distortion. The number of bands to which Man Bear can be favorably compared might go on forever. It would be silly to even try to count them all, so I’ll just list the first 10 or so that come to mind:

Superchunk, The Replacements, The Lemonheads, Buffalo Tom, Archers of Loaf, The Meices, Seaweed, Soul Asylum, Goo Goo Dolls, Armchair Martian, Dinosaur Jr., Sebadoh, Husker Du . . . and on and on.

Man Bear’s set included slacked-out versions from its album Talking Drunk at 2 a.m. This is where the “not working too hard at it” part comes in. The band sounded big, it sounded loud, but it kind of sounded like Man Bear didn’t care too much about perfection, which is exactly how this sort of music is meant to be heard. Through the fuzz and mistakes the quality of the songwriting still managed to bubble to the surface, and that’s the great thing about bands like this. Good songs, powerful drums, loud guitars, and the rest takes care of itself. Or sometimes it falls off a cliff.

Either way, the trio went out at full volume and seemed to relish the gruesome moments as much as the times when they landed safely.

Now, if they could find a way to fund a decent setup for their bass player, they’d really be in business.

–Steven M. Garcia

The 100th anniversary of Liberty Hall in Lawrence was celebrated in a whirlwind of confetti, lasers, balloons, and two nights of incredible music from Deerhoof and The Flaming Lips. (Note: The Flaming Lips’ drummer Kliph Scurlock lives in Lawrence)

Our photographer Todd Zimmer captured some photos of both evenings. If you weren’t lucky enough to see the sights for yourself, here are a few great shots.

Deerhoof

The Flaming Lips

Photos © Todd Zimmer, 2012. Please do not use without permission.

Tonight, several of the best artists in Kansas City and beyond will be at the recordBar to help celebrate the birthday of Ink Magazine’s Chris Haghirian. Haghirian is one of the biggest proponents and supporters of the Kansas City music scene, co-establishing the Middle of the Map Fest, which has helped get national acts on the Kansas City stage. He’s spearheaded a number of events to get regional and national exposure for Kansas City acts, including MidCoast Takeover at SXSW, MidCoast Cares: A Benefit for Joplin, the Ink Music Stage at the Plaza Art Fair, and Ink’s Local Music Showcase at Kauffman Stadium. Most notably coming up, he and Ink have teamed up with the MLB host an All-Star FanFest for the MLB All-Star Game at Bartle Hall on July 8-9.

Here’s the video for "Green City" from Stephen Paul Smoker:

"Vega" by Olassa:

And something off Hearts of Darkness’s upcoming release:

The poppy 5-piece Hidden Pictures has been signed to Kansas City’s Golden Sound Records, just announced in anticipation of their upcoming full-length release Rainbow Records. The crisp, melodic, polite vocal combination of Richard Gintowt and Michelle Sanders mixed with bright retro pop sounds is a perfect fit for Golden Sound, whose current artist roster includes the ’50s-style rockabilly group The Empty Spaces, folk outfit Oriole Post, and ambient noise rockers Everyday/Everynight.

Rainbow Records will be available on July 17 in print/digital formats. The CD release show will be July 20 at The Brick with labelmates Fullbloods. 

In addition, Golden Sound Records is hosting the Crossroads Summer Block Party next Friday, July 6. Food, festivities, and music from bands on the label, as well as bands on The Record Machine.

–Michelle Bacon

Someone get Zach Braff on the phone. He is going to want to get in on She’s a Keeper before someone else does. Having already packed local clubs to capacity and having performed at Midcoast Takeover this year at South by Southwest, if you haven’t heard of this band yet, you damn well should have. And assuming the band keeps making albums like this one, you will hear of She’s a Keeper whether you want to or not.

She’s A Keeper really hit the purposefully rusted nail on the head with this effort. These cool kids got off the bus in some random Kentucky town and quickly put the from-the-jug drinking locals to shame. It makes me wonder which one offered up his or her poor young soul to the devil to comprehend and create alt folk rock so well. It is really, really good. As a fellow local musician, I have to admit it is angry good. It is jealous good. It is damn impressive.

She’s a Keeper pulls off this click of music to near perfection. The more rock moments tinge on the metronomic energy of Phoenix. The upbeat songs are a hootin’ and hollerin’ good time, reminiscent of the Avett Brothers’ early work. The slower, “purtier” efforts tenderly kick you in the stomach and leave you wanting to thank the boot.

Songs like “Guidance” and “Love Me Like a Summer” carry a consistent yet dynamic energy. As is typical in this modern-folk-rock genre, She’s a Keeper enjoys being playful with song structures, often utilizing beat and meter changes to keep the ears surprised.

In “Branches,” my favorite tune of this bunch, the band shows a masterful control of its music. The song is built up and torn down many times in many unique ways, yet it never seems excessive. It features a grand range of instrumentation, but, impressively, each instrument is used in exactly the right amount and way. The restraint and respect shown to the song as a whole is something from which even the most seasoned songwriters could take a cue.

The following two tracks showcase the other side of what She’s A Keeper can do. “Hometown” is a stripped-down effort overflowing with honesty and emotion. It produces the power and impact of the previous track, but with 20 percent of the instrumentation. “Show Me State” starts out very much the same, featuring only the comforting flicker of a xylophone to accompany the spot-on harmony vocals and layered guitar. But just when you think they’re losing their steam, the rest of the band return and bring the track to an exciting and dynamic conclusion. I would say without reservation it is the best three-song stretch I have heard on an album (local or not) in quite a while.

And so it continues over the 12 songs. There are not a lot of criticisms to be had here. The album does lack an obvious radio single, but as soon as She’s A Keeper stumbles upon its “Caring is Creepy” or “Lisztomania,” all bets are off.

Do yourself a favor. Go “like” this band now. Go get this record. She’s a Keeper is doing it right, and you should know about it.

She’s A Keeper will be performing this Friday, June 29 at recordBar for Chris Haghirian’s birthday bonanza, which begins at 9:00 p.m. with Georgia Gordon, Stephen Paul Smoker and Hearts of Darkness. Tickets are $10 and are available here.

 -Zach Hodson

Editor’s note: This album was released in 2011 and followed up by a live recording performed at Midwestern Musical Co earlier this year. She’s A Keeper will be releasing a follow-up studio album in August.

This week, we sit down with Stephanie Williams, who plays in nearly every band in Kansas City, it seems. She plays with The Prolific, The Clementines, The Cave Girls, Claire and the Crowded Stage, Adam Evolving, and by the time of this posting, there’s no telling who else. Catch the beat right here!

On The Beat is a weekly interview brought to you by drummer Sergio Moreno (of Hillary Watts Riot and Alacartoona), and features some of the many talented drummers in the Kansas City area.

The Wilders are one of the most successful bands to emerge from Kansas City in the past decade. The 4-piece string band has been around for over 15 years (13 years with the same lineup), has churned out 10 quality albums, and has had a successful run around the continent and in Europe. With such an impressive resumé and a huge catalog of music, there was no question that this would be our show of the week.

After 15 years of constant touring and playing, the group has decided to take a well-deserved hiatus. The show at Knuckleheads on Saturday will give fans a chance to hear The Wilders’ entire catalog, ranging from their beginnings of playing old country and folk standards to original alt-country Americana songs of the past few years. Though they have never been a cover band, they’ve been careful to pay homage to their influences throughout the years and use them to create their own material. Their latest album (2011, The Wilders) was the first that contained all original songs, and was well received by fans and critics alike, winning an Independent Music Award for best alt-country album.

Though Saturday’s show is being billed as a "farewell show" of sorts, fiddler Betse Ellis was quick to explain that the band was not breaking up.

"We love each other too much to break up," said Ellis. "We’re not ready to call it quits but we don’t know when we’ll play next."

Either way, this is a rare chance to see The Wilders perform in their hometown. The group’s exuberant live show is not to be missed, containing an energy that many bands simply cannot achieve. Frontman and guitarist Ike Sheldon is an otherworldly force on stage, with riffs and a voice that could destroy almost any heavy rocker. “He can go from biting your head off to stabbing you in the gut quietly within 30 seconds of the same song,” explained Ellis.

In the same turn, Ellis’s fierce fiddle work ensnares audiences. Bass player Nate Gawron lays down a solid foundation for the controlled chaos the band is known to create. Phil Wade rounds out the 4-piece as the multi-instrumentalist, often switching from mandolin to banjo to any number of stringed instruments. And all of this is done without a drummer, yet The Wilders’ music has a propulsion that often rivals that of a marching band.

The show begins at 9:00 p.m. The Wilders will play for the entire evening, providing a retrospective of their successful and diverse career. Tickets are $15 and available here.

–Michelle Bacon

(Pictured above: The Life and Times)

Last Wednesday at recordBar, a reunion of Kansas City musicians took place. With Knives (Josh Newton of Shiner/Season To Risk, Joe Trohman of Fall Out Boy), The Beta Capsule (Paul Malinowski of Shiner, with former members of The Esoteric and Traindodge), and The Life and Times (former members of Shiner, The Stella Link, Traindodge) took the stage, to the delight of old school scenesters and new fans alike.

The Beta Capsule

     

With Knives

         

The Life and Times

     

(Pictured above: The New Riddim)

Ska made a welcome comeback at Davey’s Friday night.

From the looks of the almost-packed house, you’d have thought it never went away. Unfortunately, I missed openers The Uncouth, but arrived just as Kansas City ska group The New Riddim took the stage. The band was promoting the release of its debut CD, Kidnapped, and the mood was celebratory. The band tore through its rocksteady set with a well-rehearsed yet loose vibe. The New Riddim doesn’t play the ska-punk of the ’90s (Less Than Jake, Reel Big Fish), but rather an older, more soulful, less frantic style that owes as much to Jamaica as it does the Motown era of the late ’60s. Caribbean rhythms meet multipart harmonies in The New Riddim’s crossover tribute to this oft-misunderstood genre. Fans of The Slackers and Hepcat would enjoy a set by this homegrown outfit.

The band attacked the crowd with selections from its new CD and was careful to pepper in slower, more reggae-sounding numbers with upbeat tracks. Though boasting multiple vocalists—the horn players give lead singer/organist Daniel Loftus a break now and then—the band broke up the set with the occasional instrumental jam.

A couple selections seemed to get overly complicated, but you could tell the act enjoys pushing the limits of a style that seems deceptively simple. And those in the crowd, many of whom were there to support their friends onstage, didn’t seem to mind. They danced (a few even skanked!) to the bitter end and cried for more, but The New Riddim knows to quit while it’s ahead. I was impressed that the band didn’t go for one more; the temptation to do so must have been intense. Well done, fellas! They set up the house perfectly for headliners Deal’s Gone Bad.

This Chicago act’s annual shows at Davey’s are always a dance party, and this was no exception. I was impressed that most in the crowd made their way back in as soon as the band hit the stage. Similar to The New Riddim, Deal’s Gone Bad takes its cues from classic Jamaican ska via Motown, but the group takes the “stax of wax” idea to a whole new level. Rather than vamping on instrumental ska jams, Deal’s Gone Bad sticks to a 7-inch ethos. Its songs are road tested and efficient. You get a helluva bang from each tune, and usually in about three minutes. We barely had time to catch our breath as the band blasted through its set.

Deal’s Gone Bad’s last full length was 2007’s The Ramblers, but it hasn’t tired of playing fan favorites from that LP. The crowd sang along, and sometimes failed miserably, which resulted in a hilarious scolding from lead vocalist Todd Hembrook. The highlight of the set was the rocksteady take on Otis Redding’s “These Arms of Mine” from last year’s vinyl single. The group’s homage plays genuine rather than clever, and ripped the hearts out of the crowd, which hung on Hembrook’s every shredded word.

The band finished its set, then returned for a short three-song encore and said good night to the sweaty, dance-weary revelers. The audience probably could have gone on, but like The New Riddim, Deal’s Gone Bad is a group of professionals. Always leave ’em wanting more.

–Steven M. Garcia

One of the most underappreciated items on the list of why Kansas City music is so outstanding is its diversity of genres. Kansas City duo Victor & Penny is among those unique bands with their antique pop sound, which includes ukulele, guitar, and old-timey microphones.

Although Victor & Penny are on a lengthy tour all over the country, we were lucky to have them back in Kansas City at Nica’s 320 after a drive-in from a Chicago show. The duo of Jeff Freling and Erin McGrane shared their songs to a full audience, including the 101-year-old “Some Of These Days."

Although Victor & Penny are regular staples in this reviewer’s music collection, there’s nothing like a live show with these guys. After the lovely Danielle Ate The Sandwich made her hilarious mark on the stage, Victor & Penny appeared with the talented Rick Willoughby on bass to melt the ice cubes in the drinks of all audience members. McGrane’s quick wit and amazing antique pop fashion rounded out the duo’s humble command of the stage. And as a special treat for the Nica’s crowd, local musician Barclay Martin stood in on the trumpet sound – sans trumpet – and wowed us for a song.

Victor & Penny are on tour, currently heading through Arizona and will hit the rest of the east coast before returning to Kansas City. The duo’s next performance in KC is at Harry’s Country Club on Saturday, July 28 with Phantoms of the Opry. 

Here’s a video they made called "Way Back Home":

–Hillary Watts

A unique cast of characters will roll into the streets of Westport tonight. Performers yielding stage names like Magic Cyclops, Mean Melin and Thunderball will aim their talents at the 2012 US Air Guitar Championships being held at the Beaumont Club.

One winner from this competition will win a trip to Denver on July 21 to compete in the National Finals. The winner of the National Finals is crowned The 2012 US Champion and will win a trip to Finland in August to compete in the Air Guitar World Championships, where he or she will represent the United States of America against national champions from 25 other countries all around the world.

The rules are simple. Each performance is played to 1 minute of a song. During the first of two rounds all parties participating will choose a song of their liking. Survivors of that round reconvene in a second round in which the song is unknown to them. The participant with the best overall score after two rounds is the champion of the event.

Scores for the event are placed on a scale between 4.0 and 6.0. A panel of judges determine scores based on three key points; technical ability, stage presence, and airness.

The first of these three criteria, technical ability, is based on the manner in which a performer’s gestures match the music. The more concise a person is with their riffs and where they place their fingers on beat, the higher a score is likely to be.

Stage presence is the second factor to be scored. This is determined by the participants ability to present a realistic picture. The more believable a performance is the higher the likelihood of a quality score.

Lastly, the participant is judged on airness. This is the total package. Airness is the moment when the imitation of playing guitar stops and the art of being an air guitarist begins. When a person has the ability to get a room of a hundred people on their feet and into the event without actually playing a single note, they’ve achieved airness.

For example, check out Mean Melin and Thunderball achieving airness as they rock out in the face of the Westboro Baptist Church protesting a Van Halen concert outside of the Sprint Center in Kansas City.

For a closer look at those two and a collection of others, be sure to make your way to the Beaumont Club. Doors open tonight at 9. Rockstar high kicks start at 10. You must be 18 years old to attend this event.

–Josh Hammond