NYC

Album review: Bloodbirds – MMXIII

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(Photo by Todd Zimmer)
 
Twenty-year veterans of the LFK/KC underground music scene, Mike and Brooke Tuley have played with a number of bands familiar to local rock audiences. Best known for their time with Ad Astra Per Aspera, they established Bloodbirds in 2011 with the intent of cutting loose and shaking things up.
 
And they have. Dense, dark—equal parts Fun House (Stooges), Spacemen 3 and Black Angels—Bloodbirds’ newest release MMXIII may also be their swan song, given the departure of bassist Anna St. Louis for Chicago. In some ways, it is St. Louis whose playing defines the band. Forward in the mix, and by no means shy, St. Louis plays with punchy authority, reminding of some of the other great “lead” bass players like Jon Entwistle and Peter Hook. Brooke Tuley is a powerful drummer; her parts are simple, but dead-on. She locks perfectly with St. Louis.  Mike Tuley plays on top of their aggressive foundation, a canvas for his arsenal of shimmering hammer-ons (“Modern Sympathy”), punishing riffs (“Did You Say”), and sometime dulcet tones (the comparatively clean Blue Mask jangle of “Convalesce”). Depending on the song, his sound can be metal harrowing or as ropey, surf-psychedelic as the theme from Repo Man.
 
About those songs: they’re functional, gripping, emotional soundscapes, not necessarily bound by pop hook conventions. They hit you with the shape-shift intensity of vintage heavy rock like Blue Cheer or modern darkness merchants like Black Rebel Motorcycle Club. Which is to say the focus here is not necessarily on hum-ability. Even allowing for that, it would be nice if the vocals had a dash less delay density and a bit more clarity in the mix. Lyrics and vocals on MMXIII are more about mood than meaning (or mood as meaning), stray lyrics emerging from the driving murk to arrest your conscious mind here and again.
 
The tough thump of “No Trains Coming Through” totally belies the song’s title. With Roky’s manic intensity, the song “Did You Say” features the ominous, repeated line “Did you say you want the end to come right now?” And the music echoes the sentiment. “Round Moon’s” cascade of guitar features some of Tuley’s most expressive fretwork, summoning up the incantations of bands like the Icarus Line and the guitar howl of the Stooges’ Ron Asheton. For an album that emphasizes a certain heavy-osity, MMXIII manages to shift mood and tone effectively.
 
Brothers and sisters, the Bloodbirds can make a show-stopping addition to anybody’s Psych Fest. Live shows may be few and far between, given the departure of St. Louis, but they have reunited in support of MMXIII occasionally and the members remain close friends and open to the odd gig. Go catch them if you have the chance.
 
—Steve Wilson
 

 

NYC

September Artist of the Month: 3 Son Green

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Congrats to 3 Son Green, The Deli KC’s September Artist of the Month! 3 Son Green is the collaboration of Jamie Anderson, Evan Carlson, Trey Green, and Patrick Suckiel. These guys take the jam band genre to another dimension, incorporating improvisonational techniques and a high level of musicianship. They’ve been hard at work on the Midwestern festival circuit, recently playing Crossroads Music Fest in Kansas City. Get to know this band a little better with our Artist on Trial.
 
The Deli: Down and dirty: one sentence to describe your music.
 
3 Son Green: "I’m melting!" -The Wicked Witch of the West
 
The Deli: Give me some background on 3 Son Green. Have you all been together since 2007?
 
3 Son Green: Bass and guitars, yes, since high school, 2007. Our original drummer, Steven Pearson, moved to Houston to get a real job in 2014, and Patrick Suckiel joined us.
 
The Deli: What have been your biggest accomplishments as a band?
 
3 Son Green: The opportunity to play multiple music festivals across the Midwest, releasing our debut full length album in 2013, a music video in 2014, KC Psych Fest and Crossroads Music Fest, and this Deli KC honor is pretty cool, of course.
 
The Deli: What inspires your music and songwriting?
 
3 Son Green: The music of others inspires us, of course, as well as inspiring one another. We all write, so one of us will cook a little something up, bring it to practice—we’ll chew on it together for a bit & see what we can make of it, so collaboration is an important part of our compositions.
 
The Deli: What recorded music do you guys have and what is coming up for you?
 
3 Son Green: Our debut album, Redbird, is available on iTunes, Spotify, Amazon MP3, YouTube, and at local music stores near you. Right now we are recording our second album, which we plan on releasing a single from in the upcoming months.
 
The Deli: What does supporting local music mean to you?
 
3 Son Green: Going to local shows and spreading the word about the local music scene. Usually you can pay $5 to see multiple great local bands. That’s less than a beer at some famous artist’s concert, and it means a lot more to the local musician.
 
The Deli: Who are your favorite local and non-local musicians right now?
 
3 Son Green: Local? Black Crack Revue, an Afro-Nuclear Wave Funk Swing Reggae Tango band that’s been around for more than 25 years. Non-Local? Robert Glasper Experiment. They play a healthy mix of Jazz, Hip-Hop, and R&B.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
3 Son Green: Just us, headlining at Madison Square Garden. If it’s just us at that big of a venue, then we’ve made it pretty far, and for 3SG, that would be the ultimate concert bill.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
3 Son Green: Frank Zappa, Jerry Garcia, Jimi Hendrix, and The Beatles. They are all pioneers in music, whether it’s songwriting or musical ability. (The Beatles is that one "Imagine" guy, right?)
 
The Deli: What goals does 3 Son Green have for 2015, and beyond?
 
3 Son Green: Besides finishing our second album, getting out on the road as much as possible. Touring is one of our biggest priorities right now.
 
The Deli: Where can we find you on the web?
 
3 Son Green: www.3songreen.com and facebook.com/3songreen are the two ways to best keep in touch with us, although you can also find us on Twitter, Instagram, Jambase, Soundcloud, etc.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
3 Son Green: "When I find myself in times of trouble, Mother Mary comes to me speaking words of wisdom, let it be." -Elvis
 
3 Son Green is:
Jamie Anderson: guitar, vocals
Evan Carlson – guitar, vocals
Patrick Suckiel – drums
Trey Green – bass, vocals
 
You can catch 3 Son Green next Friday, October 9, at the Jazzhaus in Lawrence. Facebook event page.
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands.
 
NYC

Album review: Be/Non – “Moi Ou Toi” 7″

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If you’ve been around the KC music scene for a while, there’s a good chance that, if you haven’t actually heard Be/Non, you’ve at least heard of them. The brainchild behind the band, Brodie Rush, created Be/Non over 20 years ago, and has remained the only constant member. Since then he has had many different supporting lineups, and has released several full-length albums, including A Mountain of Yeses, Esperanto at the Pantheon, Incognito, and RAN. These recordings are mostly artsy, progressive rock, with plenty of eccentric accents. While they may be interesting to certain ears, the majority of the songs are not going to appeal to the masses, which is probably just fine with Rush.
 
In 2011, Be/Non teamed up with now-defunct Earwaxx Records to record the 7” vinyl single, “Moi Ou Toi,” and the B-side, “Not Tonight.” Earwaxx folded soon after the record was pressed, and little became of the endeavor. Four years later, Haymaker Records decided to re-release the tunes on vinyl and digital formats, along with the bonus tracks “Che Che Coolie” and “Ice Fight.” I’m glad they did, as the songs deserve a second chance.
 
“Moi Ou Toi” (Me Or You), was originally featured on RAN in its demo form. It has transformed over the years to its current minimal version, consisting mainly of a drum machine from a keytar and a guitar played through a cheap Pignose amp. It’s lo-fi electro pop, yet is quite thought-provoking. The smooth, Leonard Cohen-esque vocals and driving rhythm are hypnotic. My first listen was spent nodding my head to the beat, while trying to comprehend the lyrics. “’Moi Ou Toi’ is a song about blame and liars,” Rush says. It’s erotic: “I am the piston in the shaft / I am the bullwhip smacking your ass.” It’s contradictory and almost eerie: “I am your alibi / I am the creep in the foyer.” The whispered chorus, “Moi ou toi,” adds to this. “Creeps tend to whisper,” Rush confirms. Few songs are intriguing, relaxing, and exciting at once. “Moi Ou Toi” somehow manages to be all three.
 
The flip side, “Not Tonight,” is a very different sound at first. Up-tempo acoustic guitars with an Indian influence play along to an intricate beat coming from what sounds like a cajon box drum. There is a noticeable influence from Led Zeppelin and The Beatles, both musically and through Rush’s vocal style. The lyrics, while sung in a flat, no-nonsense way, seem very melancholy under the surface. “Forgive me for taking the time to be real, but nothing can disturb you…alone, I am.” Towards the end of “Not Tonight,” an electronic beat takes over and the guitars fade away; perhaps indicating that the song’s protagonist is doing the same.
 
Rush admitted that both sides of the record are “a challenging listen.” I would agree that they will challenge the listener to think about what they are hearing, but would argue that they can be easy for fans of various genres to enjoy. Be/Non is a band that has few boundaries, and probably won’t be loved by everyone. Moi Ou Toi stays true to the band’s long history, but offers something for most.
 
 
Be/Non will be one of the featured artists at KC PsychFest and recordBar’s 10th anniversary party this weekend. They will be playing night 2 on Saturday at 9 p.m. Facebook event page.
 
–Brad Scott
 
Brad loves music, Boulevard beer, and his family. Not necessarily in that order.
 

 

NYC

Nate Allen & the Pac-Away Dots releases Take Out the Trash

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(Photo by Alicia Mellinger)
 
I first met Nate Allen years ago. We were both on tour, and were sharing a show in rural Illinois. He was traveling alone, from his home in Portland, OR, in a huge green van, performing straightforward, introspective solo sets under the moniker Destroy Nate Allen. I had pneumonia and was doing my best to hang on as my tourmate and I made our way back to Kansas City (and eventually, the hospital). That night, we made no money and had no place to stay. I felt completely defeated. Nate, apparently, felt differently. He encouraged us to have a “camp-out” in our cars in a Walmart parking lot. We made forts out of our vehicles, luggage, and clothing. Under Nate’s direction, we found ourselves motivated to make the best of our unpleasant situation. That was the first time I encountered the boundless energy and positivity that is Nate Allen. I still have Polaroids of our forts in a box somewhere­­–I’ll never forget it.
 
As the years went by, Nate eventually met his wife, Tessa, and she joined Destroy Nate Allen; it was as if her joining helped bring out that energetic, ultra-positive (but realistically so) side of Nate into his music. Destroy Nate Allen became a force of nature. A performance-based, upbeat and exciting whirlwind of energy that most full bands could aspire to attain. With this new version of the band going strong, Nate and Tessa moved to Kansas City (it goes without saying how excited I was when this happened). Despite the success and good reception the new DNA had been [and is] receiving, Nate was still writing more introspective, low-key songs, and he was finding it harder and harder to bring them to DNA as it evolved. Through encouragement from Tessa, Nate eventually formed Nate Allen & The Pac-Away Dots: a rock ‘n roll leaning, folk/punk hybrid that serves as a home for his more serious writing. The Pac-Away Dots, although introspective and serious much of the time, also retains the free spirited energy that has evolved from working with his wife (although she is not involved with this project). The results are a lot of fun to listen to, but also carry an array of meaningful messages that almost all of us can relate to. Their first record, Take Out The Trash, will be available starting Wednesday, coupled with an album release show at recordBar. I had the chance to ask my old friend some questions about his new project, and how it relates to his work as Destroy Nate Allen with his wife, Tessa.
 
The Deli: First off, thank you for taking the time to answer my questions – I know you’ve been very busy with both Destroy Nate Allen (DNA) and The Pac-Away Dots. When I first met you, you were performing solo, with more serious content, under the DNA moniker. Tell me about how DNA evolved from that into the upbeat, performance-based collaboration with your wife, Tessa, that it is today. 
 
Allen: On my first tour (where we met), I played a week of shows with my friend Jason. His wife wanted to join the project and he would only let her sing on one song. Throughout our week of touring she kept stealing instruments and inserting herself into his band. As the week progressed he had a light bulb moment. “I play in a crappy punk band, just for fun… why can’t she have fun with me?” So she joined the band. I thought it was very beautiful, so when Tessa and I got married I had her join Destroy Nate Allen.  
 
What I could not have foreseen was how Tessa would change Destroy Nate Allen. She brought out punk rock and theatrical edges I had but were not very pronounced at the time. 
 
Tessa is very literal so that comes through in her songwriting, which has greatly affected our sound as we have learned to collaborate. The keyword there is LEARN. We’ve said it’s harder to be in a band together than to be married… and I would add, learning to co-write has been a whole other level of growth.
 
Our performance style has developed in an organic fashion from touring for months on end. Sometimes we’d be playing for 5 people and need gas money to get to the next town so we’d just up our energy level or climb on a table to get people’s attention. Once you do that, it’s hard to go back. DNA is the result of a series of doors (performance-wise) that opened that can’t be closed. The result is our collaborative and audience-involving show that is hard to bottle and fun to perform.
 
The Deli: DNA has been doing pretty well, and is definitely not showing signs of slowing down. Is it safe to assume that The Pac-Away Dots are not a replacement for DNA?
 
Allen: Correct. DNA will probably go down as one of those weird bands you saw once and never forgot but we love doing it and see no reason to stop. Since it’s just Tessa and I, we can really play as much as want. It’s actually been hard to carve out space for my solo songs because we really love performing together and when Tessa is around we end up doing DNA because we enjoy it.
 
The Deli: What motivated you to start this new project? Is this a return to the earlier, more “serious” solo work of the early DNA days, or are The Pac-Away Dots an entirely new kind of project for you?
 
Allen: The most straightforward answer is that Tessa told me start a solo project so she could have a break. Due to my workaholic default we had fallen into a never-stop cycle. I have always written quiet solo songs but it has gotten progressively harder to shift gears and fit them in within the construct that is DNA. Ultimately there will probably be at least 3 bands: Nate Allen (my solo work), Destroy Nate Allen (our duo), and The Pac-Away Dots (my rock n’ roll band).
 
So I would say Take Out The Trash is a both/and record. It is a new project entirely and a return to my solo roots. 
 
The Deli: How do you feel the lyrical content of Take Out The Trash differs from your work as Destroy Nate Allen? How are the two similar? 
 
Allen: Most often I write two types of songs. Destroy Nate Allen songs are collaborative at this point and lean towards whimsy, whereas my solo quiet songs are often much more introspective in nature. 
 
Take Out The Trash was all originally my solo songs and I tend to be a very reflective songwriter. For instance, this week I saw a person I know being ripped up on the internet and my first instinct was to write song in his defense. I’m not sure if he was at fault or not in the situation, but I tend to always fight for the underdog and don’t believe the Internet is the best courtroom. 
 
On Take Out The Trash I had space to reflect and be moved by the community around me and my life circumstances, so I find to the record to be both compassionate and confessional of my own judgments and fears. I believe these choices give other people permission to be more open and explorative of their own hearts and motivations. 
 
The two projects are similar in that Take Out The Trash is very informed by my work in Destroy Nate Allen.
 
The Deli: If someone asked me to describe Nate Allen & The Pac-Away Dots, I’d be tempted to say folk-punk, yet the songs on this record are both more “folk” and more “punk” than most bands that fall under the folk-punk label. It’s almost as if this record is the sound of a folk-punk band in the process of growing up­–one that does not sacrifice the whimsical, free-spirited, socially/politically-charged approach of that genre, but rather experiments with it just enough to create a potentially wider appeal. Was that something you were intentionally working towards?
 
Allen: I completely agree with how you described the project. I was not so much intentionally working toward a wider appeal, but Take Out The Trash is definitely an album where I am growing up as a musician. 
 
In 2012, I compiled the Destroy Nate Allen Songbook. The Kickstarter prize turned into a 100-hour labor of love and gave me a chance to thoroughly reflect on the 82 songs I had released up to that point. In this process, I noticed a few patterns that needed correcting (such as avoiding cliché and dropping unneeded parts of songs or completely dropping songs from an album), I applied this new perspective and the result is my first release as a new and better musician.
 
The Deli: Who would you say were your influences for the record? Musically and non-musically. 
 
Allen: Musically, my influences include the sounds of rock ‘n roll in Portland basements and my love for the quiet songs at the end of loud records mixed with artists like David Bazan, The Violent Femmes, Mike Ness, The Pine Hill Haints, and Mid-Era Against Me put in a blender with years of touring. 
 
Non-musically I was really challenged by a community I was a part of to see how white male privilege had affected and informed my life. I grew up as a third-generation timber worker in a 99% white small Oregon town, racism was alive and well all around me even if I didn’t realize it. Take Out The Trash is the sound of my eyes very much being opened. See “Social Equality” and “Westside Blues.” 
 
The other major factors were losing friends (death, jail, distance, etc.), and new revelations of my own frailty combined with trying to find work and the instability that creates in a workaholic like I can be.
 
The Deli: The record has a very loose, live feel to it without ever being sloppy or lazy. Tell me about the recording process for Take Out The Trash
 
Allen: We recorded the album in Portland right before we moved in the basement of the house I was living in. Our impending move provided a deadline for the recording, but being a few feet from the studio was fantastic in that it allowed us to record as often as needed. Tyson Kingrey (who plays drums and lead guitar on the album) engineered most of it and I provided most of the musical direction for the tone and feel of the album.
 
I would say we captured the sound I was going for. I’ve learned that at least on my own I have very specific ways I like things to feel and sound and I think we pulled that off better on Take Out The Trash than any of my past recordings. The record was then mixed and mastered by Rob Bartleson (Wilco, Everclear, Other Desert Cities). 
 
The Deli: How does a Nate Allen & The Pac-Away Dots’ live show differ from the recordings? How does it differ from a DNA set?
 
Allen: I would say the Nate Allen & The Pac-Away Dots’ live show differs greatly from the recordings. For now “the band” is just me, so the shows are very much more reflective in nature. I’m trying to give people space to contemplate what I’m saying, which means staying in one place (often on a stage) as opposed to flying all around like we do in DNA. This music is based around community building and it is definitely easier for a normal, uninitiated listener to digest on multiple levels.
 
The Deli: Should we expect more from The Pac-Away Dots?
 
Allen: We recorded a cover of “Career Opportunities” by The Clash for a compilation, other than that I’m not sure what we have planned. I have much on my plate, including a lot of touring, so at this point playing solo is much easier. Time will tell how I fit in the band. 
 
The Deli: Changing gears a bit–what brought you from Portland to Kansas City? Do you ever miss living in Portland?
 
Allen: The short answer is cheap rent and some work (I build websites). We really needed our own place after years of constant touring and moving. Our life was in constant flux and Kansas City has allowed us to settle a bit. Portland was home for me so I definitely miss it. Everywhere we went we ran into folk I’d known for years.
 
The Deli: How do you like living in Kansas City, and how do you feel about our music scene in comparison to other places you’ve lived and toured to?
 
Allen: I’m starting to really like it here. I’m a big baseball fan so this is a good time to be in Kansas City. The music scene is growing on me quickly. I had never really experienced the Kansas City music scene when we toured through, so I didn’t know it existed. We had mostly played small clubs or random living room shows on our trips through town.
 
One distinctive thing about Kansas City I see is the abundance of and love for local events. In my previous towns and the places we’ve toured through, pretty much every musical event was built around touring bands. I’m learning that Kansas City is a very well-kept secret, which I’m excited to learn more about.
 
The Deli: Is KC a permanent home for you?
 
Allen: I would say it is. I’m working to shift my focus to becoming more involved locally.
 
The Deli: Speaking of Kansas City, this Wednesday you have your release show for Take Out The Trash, the debut Nate Allen & The Pac-Away Dots album, at recordBar. Is there anything you’d like to tell us about that show?
 
Allen: At the recordBar I’ll be joined by my friends Von Strantz, who are a fantastic folky duo from Indiana. 
 
Since this is a return to my early musical roots, I’ve decided to play the show solo. This is nerve-racking and exciting. Solo I’ll be able to tell the stories behind the songs and celebrate it at a pace I’m comfortable with. 
 
Take Out The Trash was written at the start of what has become a large season of shifting and growth in my life, and the record really has changed me and my art in many ways that are still hard to describe, so I’m very excited to finally share it with the world. 
 
The Deli: Lastly, is there anything else you’d like to say?
 
Allen: Thank you so much for the great questions! Take Out The Trash arrives in stores locally and nationally on vinyl, CD, and in all major digital outlets on September 18.
 
You can learn more about me at IAmNateAllen.com.
 
Check out our exclusive premiere of the track “Death is Overrated” from Nate Allen & The Pac-Away Dots’ new album, Take Out the Trash:
 
 
Head up to recordBar on Wednesday night to celebrate the release of Take Out the Trash. Show starts at 9:30 p.m. Facebook event page.
 
 
Doby Watson
 

Doby Watson is a songwriter from Kansas City. 

NYC

Video premiere: “Keep Knocking” by Connor Leimer ft. Gracie Schram

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The Deli KC is excited to premiere “Keep Knocking,” the latest music video from Connor Leimer. The single (available on iTunes and Spotify) comes off Leimer’s forthcoming debut album, Postcard, which drops October 2. Leimer is a young songwriter from Leawood who hopes to make his musical mark with this ambitious 10-song effort, recorded at Weights & Measures Soundlab and produced by Max Griffith.
 
“Keep Knocking” features another young and up-and-coming KC artist, Gracie Schram, who contributes tender but poignant vocals to Leimer’s acoustic song. The video is beautifully shot at Voltaire in the West Bottoms, with Schram and Leimer dressed to the nines in vintage clothing. It was filmed and directed by Clinton Martens and edited by Steve Gardels.
 
 

Go see Connor Leimer this Saturday at Crossroads Music Fest. He’ll be performing at The Tank Room at 6:00 p.m. Facebook event page. Get your tickets for CMF here. 

–Michelle Bacon

NYC

The Deli KC Presents at Grain Valley Fair 2015

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This Friday, we’re taking a fantastic lineup of performers out to Grain Valley for their annual Grain Valley Fair. Tickets are only $5! The stage will be located by the Grain Valley Chamber of Commerce at 711 Main St., Grain Valley, MO 64029. Preview the bands, bring your lawn chairs and blankets and come say hi to us! Midwest Music Foundation will also have a table near the stage. Facebook event page.
 
11:15 – Not A Planet
 
 
Not A Planet
 
 
 
The Philistines
 
 
 
Katy Guillen & the Girls
 
 

  
Kangaroo Knife Fight
 
 

NYC

Album review: New Baboons – New Baboons

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With twangy guitars, plenty of organ, and vocals dripping with reverb, it’s obvious that New Baboons are purposefully channeling the sounds of the ‘60s on their self-titled debut album. Influenced by The Beach Boys and Velvet Underground, their airy, melodic songs combine the California sound with catchy neo-psych, garage rock, and power pop, resulting in something not often heard in the local scene.
 
New Baboons consist of Elliott Seymour (guitar and vocals), Adam Scheffler (guitar and vocals), Tom Livesay (bass and vocals), Paige Newcomer (keyboards), and Josh Klipsch (drums). Seymour, Scheffler, and Livesay did the songwriting, and the album was recorded on an eight-track in Seymour’s basement. Despite the vintage tone and sound, it is far from one-dimensional.
 
Several of the 11 tunes unapologetically borrow from the past. “History Books,” “Dress,” “Man, They Just Don’t,” and “Velcro Underground” (a tip of the cap to Velvet Underground) all pass for songs that could have been drifting from the windows of a VW bus in 1968. This isn’t a bad thing, as they are solid tracks that will keep the listener tuned in.
 
“Oh God, You Phantom” and “The Victor” are darker and a bit strange, but remain very listenable, which may equal a more interesting musical experience. Two highlights are “Worm in the Apple,” a pulsating, bass-heavy song that is reminiscent of The Shins’ early work, and “If You Find Some,” a piano-driven, soulful gem with powerful vocals and an extended jam that could go on even longer.
 
Overall, New Baboons is a good, layered offering that should grow on listeners the more it is heard. Some may suggest that the sound is somewhat formulaic, but it is a formula that continues to work and is given a unique and refreshing spin by the band.
 
 
You can check out New Baboons a couple times in the coming weeks: they’ll be playing the dinner show at recordBar on Tuesday, September 15 (Facebook event page) and Harling’s Upstairs on Friday, September 25.
 
 
Brad Scott
 

Brad loves music, Boulevard beer, and his family. Not necessarily in that order. 

NYC

Schwervon! explores its identity in Kansas City

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(Photo by Todd Zimmer)
 
Though Matt Roth and Nan Turner had already been a musical duo for over 10 years, the word “Schwervon!” didn’t infiltrate Kansas City’s vocabulary until 2012. In fact, their appearance at Ink’s Middle of the Map Fest that year took place the weekend they moved to KC from New York.
 
Three years later, the pair has become one of Kansas City’s most beloved indie pop acts. Since building a foundation in KC, Schwervon! has released two full-length albums and has performed hundreds of dates around the world, including a two-week European run with The Vaselines last fall. In addition to its clever, captivating ‘90s-influenced brand of rock, the band has also become known for its live show, chock full of playful stage banter and wacky show antics.
 
“We’ve done a lot of US touring and a lot of growing as a band since we’ve moved,” says Roth. “I don’t think we could have managed this while living in NY. KC has provided a soft landing for us to engage in, a vibrant local art scene, while at the same time motivating us to get out there and to grow.” For constant touring bands like Schwervon!, it makes sense to live in a central, less expensive locale with a smaller but thriving music scene. But being a band that is deeply rooted and established in a much larger city also presents its own set of challenges. “There’s great stuff to do in KC but we’re more isolated here, at least when it comes to the sort of DIY, arty, pro-feminist community that we love,” Roth mentions.
 
Regardless, Schwervon! has been able to carve out a distinct notch in local, regional, and national markets since moving to KC. In that time, Roth and Turner have had a chance to develop as artists, performers, and grow as a musical partnership. Their most recent LP Broken Teeth (released in 2014 on Haymaker Records; here’s our review on it) was their first acoustic album, which caused the two to examine the essentials of their songs. “As a two-piece band, you often hear the space in and around our songs. We’re not afraid of space. And clarity, which I really like,” says Turner, who shares songwriting duties with Roth. “But to play softer and acoustically—it’s even more eagle-eye focus on the song skeleton, and you notice quickly what works and doesn’t.” Broken Teeth showcases Schwervon!’s music at its most basic level, and it succeeds in remarkable ways. Even in a studio recording, the band’s unmistakable charm shines through in catchy, sincere songwriting.
 
The two have also honed their performance craft over the past few years. “The shows are so much better when people engage with the music,” says Roth, who writes and recites a Beat-style poem at each show, while Turner performs an interpretive dance. They owe this move to their theatrical background, as well as their desire to keep the audience engaged in their art. Turner says, “I think the cool thing for the audience is that if you haven’t seen us before—they’re watching this theatrical thing in the middle of indie rock songs and whether they love or hate it, it’s unexpected and just lives in that moment.”
 
If you haven’t had a chance to witness a Schwervon! show, you can catch them this Friday at Josey Records with The Cave Girls, Lauren Anderson, and The Sluts. They play at 6:15, and the show is free. Facebook event page.
 
 
Michelle Bacon
 

Michelle is editor of The Deli KC and plays in bands. 

NYC

HMPH! pushes musical boundaries with Headrush

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Simply stated, the music of HMPH! could be described with a term like math rock or experimental jazz fusion. But these terms, while accurate, don’t paint a complete picture of the sounds created by guitarist Ryan Lee Toms and drummer Jonathan Thatch. “Just when you think you got the groove, we switch it up, add a few beats, or throw in a chord from another key,” says Thatch, whose mastery over the drum kit is jaw-dropping. And while rhythmically complex, progressive compositions have become a cornerstone of the math rock genre, HMPH! additionally incorporates elements of jazz, ambient rock, alternative, and metal.
 
On Friday, the duo will be releasing its debut album Headrush (Haymaker Records), a 36-minute instrumental effort that showcases HMPH!’s dedication to push the envelope while keeping its music interesting. Nine of the 10 songs clock in under 5 minutes, keeping a fresh, brisk momentum for the entirety of the album. The listener has a chance to delve in to each song, but is pulled out before it becomes indulgent or formulaic.
 
Many of the songs start with a basic guitar riff that is bent and twisted in multiple directions, meandering from its original shape but always returning to it. From a polite jazz lick to a climactic rising arpeggio, Toms designs unpredictable, jagged noises with his guitar. “The harder it is for us to wrap our head around a riff, the more fun it is to write and the more enjoyable it is to dissect as a listener.” His combination of intriguing guitar sounds with Thatch’s intricate drum work shows that they’re very much up to the challenge. “Sometimes it starts with a complicated polyrhythmic drum part from Jonathan and I’ll create a progression to that. Other times, I’ll zone out and write arpeggios while thinking of decrepit medieval castles that kind of remind me of all the video games I played as a kid. Then I bring them to Jonathan.”
 
At the same time, Thatch is creating his own variegated sounds with just a five-piece drum kit. He often provides a countermelody to Toms’ guitar, building upon dynamic layers with odd meters, polyrhythms, subtle dynamic shifts, and rhythmic intensity. “One quality we strive for is to keep people guessing,” he says. This even includes retooling songs on the spot. “Our songs tend to keep evolving over time. We might be playing a song live and try something new, and we like the new sound so we keep playing it that way. Sometimes we don’t even talk about it; we just both know how it goes now.”
 
 
Join HMPH! on Friday at Harling’s Upstairs. They’ll be releasing Headrush through Haymaker Records. Vinyl and cassette copies of the album will be available for purchase. Preorder here. Facebook event page.
 
 
 
Michelle Bacon

Michelle is editor of The Deli KC and plays in bands. 

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Madisen Ward & the Mama Bear celebrate a homecoming

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(Photo by Todd Zimmer)
 
The last time Madisen Ward & the Mama Bear took the main stage at The Midland, they were opening up for B.B. King in one of his final performances. At this point, last October, the mother/son duo was just being introduced to listeners not just around the country, but in their hometown as well. They had recently been signed to Glassnote Records after wowing a roomful of record executives in Muscle Shoals and playing a secret showcase at Third Man Records in Nashville during the Americana Music Festival.
 
Not long before that, Ruth and Madisen Ward were playing to small but enthusiastic audiences in and around their hometown of Independence. Ruth has been a musician for most of her life, playing the Midwestern circuit as a folk songwriter in the early ‘70s. She returned to music after her three children had grown, and her youngest son Madisen began accompanying her to coffeehouse gigs, sometimes joining her for a few songs. Like his mother, Madisen began writing songs as a teenager, finding his footing as a musician while accompanying Ruth on these shows. “The style we play is different than what my mom was playing in the ‘70s, and I came to music later, so I see it differently,” says Madisen, who has since fallen into the role of chief songwriter. “Eventually, my mom gave me the reins and told me to write.” While Madisen constructs a song’s general melody and lyrics, his mom helps with song development, bridges, and harmonies. The two have found major success with this formula, creating a unique, moving brand of Americana music.
 
All of this is why their performance this Thursday is a bit of a homecoming. This will be Madisen Ward & the Mama Bear’s first major headlining show in Kansas City, after a slew of achievements that include appearances on The Late Show with David Letterman and Later… With Jools Holland; opening slots for a broad scope of acts like The Pixies, Rodrigo y Gabriela, and The Tallest Man on Earth; and prestigious spots at events like Bonnaroo and Newport Folk Fest. They’ll also be bringing a full band with them this time, with Kansas City musicians Tom Hudson on drums and Brent Kastler on bass, as well as Larissa Maestro on cello.
 
But this sudden onslaught of triumphs—which also include a European tour (and another on the way, with Sufjan Stevens) and the acclaimed release of their debut LP Skeleton Crew in May—is not without its challenges. “Your creative routine has to be altered,”  mentions Madisen. “We used to be able to sit in the dining room and bounce ideas off each other. I still write when we’re on the road, but it’s a different dynamic that you have to learn to juggle.”
 
On the flip side, the two have found that success has great rewards. “The whole thing is the people,” says Madisen. “It’s a very personable career that really revolves around human interaction, and the energy of a room. All of these different people we get to meet have different stories.” Stories, perhaps, that will find their way into the duo’s music one day.
 
Madisen Ward & the Mama Bear will be playing at  Arvest Bank Theatre at The Midland with special guests Luluc, an Australian folk duo, on Thursday night. Tickets are $15 and can be purchased here.
 
 
–Michelle Bacon

Michelle is the editor of The Deli KC and plays in bands.
 
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This week’s releases

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Several KC-area bands will be releasing tracks or albums this week:
 
Bad Wheels / Bad Wheels (EP)
 
 
This heavy-riffin’ four-piece rock collective is releasing its debut self-titled EP tomorrow (Tuesday) through Bandcamp; you can download the 6-track album, or purchase a limited-run cassette with a download card. You can also pick up a cassette and hear some of these tunes on Saturday at Harling’s Upstairs, where the group will be performing with StrawBilly.
 
 
Shades of Jade / “That One”
 
 
Shades of Jade will be releasing a single from their forthcoming album Fingerprinted Memories: Part II Sketches of the Heart this Thursday. That evening, the eclectic jazz group will take the stage at The Blue Room. The band will also be talking with Mark Manning on Wednesday Midday Medley this week, on 90.1 FM KKFI at 10:30 a.m. Preorder the track on iTunes. Facebook event page. #thatone
 
 
HMPH! / Headrush
 
 
On Friday night, math rock duo HMPH! will be celebrating the release of its debut full-length album Headrush on Haymaker Records. The band will have vinyl copies for sale that evening at Harling’s Upstairs. Rhunes and Arc Flash will also play. Facebook event page.
 

Radkey / Dark Black Makeup
 
 
The wait for Radkey’s long-awaited debut LP, Dark Black Makeup (Little Man Records) will also end Friday. The boys kick off a 2-week European tour in Belgium on Thursday, but their next appearance in the area will be September 25 at The Bottleneck. The album is now available to stream via Spin. Preorder the album here.
 

 
 
Danielle Nicole Band is the project of former Trampled Under Foot singer/bassist Danielle Nicole Schnebelen. The group released its debut self-titled EP earlier this year, and will release Wolf Den this Saturday at Knuckleheads Saloon. Grand Marquis will open. Preorder Wolf Den here. Facebook event page.
 
 
 
 
Saturday will also mark the release of Radiant Man on UniGlobe Records. A Crooked Mile will be playing at recordBar that evening with Kristie Stremel’s Pet Project and Carswell & Hope. They will also be featured on Wednesday Midday Medley this week, at 11:00 a.m.
 
 

–Michelle Bacon 

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The Conquerors sign with High Dive Records

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Kansas City-based record label High Dive Records announced the signing of psych rockers The Conquerors earlier this week, adding to an impressive roster of artists that also includes Bummer and Rev Gusto, who have both recently released albums.
 
In celebration of the announcement, High Dive has released two new songs from The Conquerors, “I Don’t Know” and “I See You.” Recorded at Element Studios by guitarist Vincent Lawhon and mixed/mastered by Joel Nanos, the tracks put the psych pop group’s finest attributes on display. From a swath of percussive accents to shimmering guitar tones bathed in warm vocal layers, these songs take the listener on a euphoric, transcendental journey.
 
The Conquerors also plan to release a 7” single later this fall with two more new tracks, “You Must Be Dreaming” and “Maybe Someday.”
 
 
Michelle Bacon
 

Michelle is editor of The Deli KC and plays in bands.