We already praised Brooklyn Hunters‘ super-tense approach to noise-rock in more than one occasion (they were our NYC record of the month in February). Well it looks like NYC reigning noise champions A Place to Bury Strangers also have taken notice of this sonically uncompromising duo. The band (whose debut EP was partly mixed by YYY’s guitarist Nick Zinner) just released the new single "Street Trash" (streaming below) and announced a July East Coast tour with A Place to Bury Strangers. It’s going to be like a series sonic blasts across the coast, indeed!

(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

     

I’ll admit it, I first heard of Queen Orlenes through producer Tim Powell’s epic remix for ‘Bones.’ On their EP ‘Helicopters,’ the track sounds like something Feist might have contributed to a Broken Social Scene session. While Powell places singer Brooke X’s casual contralto over an insistent backbeat for his mix, it sounds equally powerful on the band’s own recordings. In fact, this ability to expand and contract on demand marks a rare skill that Brooke and band pull off convincingly.

There’s the sharp opener ‘Helicopters’ for instance (streaming below). Here’s a song with a groove as haunting as anything you might be missing from Portishead, complete with a rousing wash of strings from the Bergersen String Quartet. Equally, the other three tracks on the EP highlight a group with the confidence to effortlessly balance dynamic power over steady groove. Even with their first release now just a couple months old, this is a group that sounds like they’ve been making it happen for years. So hopefully they’ll be announcing some new dates soon… – Mike Levine (@Goldnuggets)

With a name like Devil On A Leash, one might think the Tacoma based band dabbles in Satan-worshipping death metal. While the four-piece doesn’t belong to that genre, their music still packs a big punch. With a garage pop sound that experiments in hard rock and psychedelic, Devil On A Leash make tunes that are bound to stick in your head. Songs like “Down The 5” are even tinged with a bit of country. Check out the band in Tacoma at O’Malley’s on July 8th or at Backstage Bar & Grill on July 10th, and listen to “Down the 5” below. – Josh Johnson

After months of ambiguity, MS MR have finally begun playing live, giving only a slight glimpse into the world of the mysterious duo. Comprised of a woman and man (the MS half may or may not be named Liz), MS MR has released a demo album and a single with accompanying music videos, but that’s about it. Following the example of another rather successful NYC boy/girls duo, Cults, they don’t divulge their identities, they don’t show their faces on press photos, and they certainly don’t grant interview (at least for now). But, really… do we care about all this stuff? No we don’t, all we care about is their music, and the single “Hurricane” has a lot of things to say: a tremendously enjoyable blue soul-pop gem, the song is built around MS’ beautiful melody – the lady has a voice to kill for, with a peculiar mixture of sweetness and severity. In the background, a light and ambient trip-hoppy electronic arrangement work some magic against pounding mid tempo electronic drums. The band is also likely to be originally from the UK, which is possibly where their dream and drone sound originates. They may not be eager to expose their inner workings, but MS MR do have a musical focus to back their secretive attitude. See them at Santos Party House tomorrow June 27 before they leave for a July west coast tour. – Devon Antonetti

Some eight months ago, Grassfight was another new indie band emerging onto the cluttered scene of a broad ‘post-punk’ heritage. Offering a certainly promising debut with “Icon, an EP”, the currently NYC based trio was still facing a tough fight ahead: to break through the endless cast of half-hearted shoegazers and other Joy Division-bred acts around. Mission accomplished?

Yes, sir. As we welcome the first single off their upcoming EP “Icon N.2”, time to give credit where credit due. Effective for one, “Look Homeward, Heathen” blends the ominousness of New Wave revivers like Interpol with the fever of earlier Strokes classics in a tight, most delightfully unhinging cocktail of binary Krautrock-infused drumbeats and string fuzz, the whole led along with an angst-fuelled speed rush by Nathan Forster’s hyper-distorted lead tenor. Progressively, a glacial wall of sound rises from the depths of shivering basslines and tingling guitar riffs, growing denser as the track heads towards its peak in an effusion of minor tones. Upbeat, catchy, and as moreish as a preview should be, “Look Homeward, Heathen” sets the tone for an exciting record to come; sadly though, we’ve got a month to wait until it is released (on July 24th!). – Tracy Mamoun

(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

In the intimate video for Frances Cone‘s latest track ‘Come Back,’ it’s hard to say whether she’s finding or losing love. If there’s one thing I’m already sure of after watching the video, directed by Sundance cinematographer Hillary Spera, it’s that Cone has a singular ability to co-exist in several world simultaneously. Her moods shift quickly here between homely intimacy and moody emotion almost at once. Even while pleading for the lover to come back, it’s somewhat unclear if Cone’s missing her boy… if her boy is missing her… if her little girl is missing her mom… no matter. These and other questions should have a chance to be addressed when her new record drops (produced by the great Dan Molad who was behind Lucius’ last effort) later this summer.

See the Brooklyn singer-songwriter’s many moods when she performs at The Studio on July 21st with Ron Pope. – Mike Levine

Baroque pop band Tomten debuted their most recent LP, Wednesday’s Children, last week. It is their second record, the first being 2010’s self-released Tomten.

By and large the group cultivates a musical aura that does not depend upon contemporary indie music tropes. Their sound is clearly and unabashedly linked to the sonic influences of 1960’s and ’70’s pop music – think The Kinks or Big Star for just a start.

Organist, guitarist and lead singer Brian Noyeswatkins steers the ethereal ship through patient, emotive songs that do not waste a single note. Bassist/vocalist Lena Simon, lead guitarist/vocalist Gregg Belisle-Chi, and drummer Jake Brady join him in forging a unique set of delicate but confident tracks on Wednesday’s Children.

The eponymous song "Wednesday’s Children" is an elegant anthem which feels like a folk song that fell out of a dream. This is a consistent characteristic in their sound: each song conjures its own private universe which the listener is sweetly invited into. "So So So" is a great example of a track that puts Lena’s voice on full display; Jake’s subtleties on the set and Gregg’s reverb-laden guitar parts are critical additions.

Wednesday’s Children is available on vinyl and compact disc via Flat Field Records in local record stores and online.

– Cameron LaFlam

 Watch Tomten perform "So So So" below:

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

Seattle quintet Motopony, who just released their self-titled debut last month, will headline a show at Neumo’s on July 7th. They will play with two other Emerald City locals, Smokey Brights and Cumulus. Motopony’s sound is a winning combination of Grateful Dead-esque folk music and the funky and soulful voice of frontman Daniel Blue. Listen to one of the album’s highlights, “Seer,” below. – Josh Johnson