If dance music’s your scene, there’s very little chance that you haven’t come across this yet. Mystery Skulls, based in Dallas, is the most recent project of Los Angeles songwriter Luis Dubuc, which he developed as a follow-up to his previous band The Secret Handshake. Releasing a first EP (titled.. EP, to which you can treat yourself for anything above $1 on his bandcamp page!) last December, he put his new enterprise on the map with five bust-a-move electro-pop cocktails sporting pounding beats and super-groovy synthesiser melodies, taking you flying back to the world of sensual 80s pop standards, with just a little more ‘oomph’ – that is, a touch more bass to get things kicking. Don’t miss Mystery Skulls playing with Portland’s Starfucker at Santa Monica’s Central SAPC on Saturday, October 13th.

Brooklyn’s Fletcher C. Johnson is technically one man and a band all at the same time;  Fletcher C. Johnson is both the name of a trio and the lead singer of said trio. In their/his newest music video for “Messin’ Up My Mind,” cardboard aliens plus ticked off beehived back up singers make for a hilariously DIY experience. This mega catchy retro-tinged rock single was originally released in April as the A-side of the band’s 7".  If you aren’t listening for the infectious tunes, be sure to watch for the healthy dose of absurd, pizza-throwing humor — not surprising at all from a band that describes their sound as, "A guy making trumpet noises with his mouth.” – Corinne Bagish 

Last week, Brooklyn-based trio Apollo Run welcomed their new album, “Here Be Dragons, Vol. III”, a full-length follow up to their two EP’s, “Here Be Dragons Vol. I” and “Vol. II.” Accompanying this release was a new video for track, “The Inevitable Small Rebellions” which not only fans but CMJ were very excited to share. The festival’s website premiered the video to introduce the record and to highlight Apollo Run as an official CMJ artist. Featuring the band on cardboard instruments and children in animal-themed face paint, the song sets the stage for a theatrical video based loosely on George Orwell’s “Animal Farm.” The album’s opening track also represents Apollo Run’s affinity for creating layered compositions rather than one-dimensional songs, and “HBD, Vol.III” is no exception. The band is gearing up for a fall tour and will be playing Union Hall on October 10 and CMJ on October 17 at Bowery Electric. – Meijin Bruttomesso

(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

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If you’ve been wondering what beat boxing soul machine Jamie Lidell has been up to, it turns out he’s been teaming up with psychedelic, acid rock revivalist Ludwig Persik. Ludwig’s self-titled debut EP trips through Iggy Pop and Lou Reed’s New York, filled with the secret, late-night adventures you’ve always imagined happening across the Bowery in the ’70s. And Ludwig should know, having grown up on the LES himself, this legacy permeates his slight frame. It’s spirit is channeled through all five of these tunes.

From the welcome open of the Beatlesque ‘Forward Motion,’ to the Bowie-indebted ‘On The Town,’ there’s a kind of staggering drunkenness to Ludwig’s adventures through his city. Like he’s already seen a lot of life, but can’t quit now and let sleep get in the way of more story-making.

He may be rambling along throughout these jams, but ‘Hallway Light’ is arguably the album’s most immediate destination. Looped in with a creepy, digitally distorted video, one wonders if Ludwig might be a half-cyborg invention beneath all the angst and alienation.

It’s a fascinating debut dealing with old styles, struggling to come to terms with new relationships, and trying to make sense of unfamiliar surroundings. The further along he goes, the more he leaves that past behind. As Ludwig explains in raucous album closer ‘Son,’ “I don’t want to come home… I’ll die if I have to.” See him when he plays Mercury Lounge Oct 9. – Mike Levine (@Goldnuggets)

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.

Squirting little doses of filth on a dirty canvas, the mOrgans are out to prove that obscene marries many colours beyond the obscure, violent ends of the rock spectrum. There’s glamorous, there’s good old swinging rock&roll, there’s a stubborn blues, and it’s by playfully pasting their phallic rock songs over enticing loops and pleasing patterns that the trio manage to turn ‘Kentucky Fried Semen‘ or the ‘Texas Hot Link’ into friendly hooks you’ll get the hang of in no time. That thing the Cramps did so well, topped wth a coat of ridiculous. Hailing from Brooklyn, The mOrgans are that new little pill to get the blood pumping across the scene; and if you like what you hear, you can go get nasty with them next Saturday, October 13th at King Killer Studios for an intimate ‘Enter the mOrgans’ EP release party – check their Facebook page for more details. 

The shortest day of the year may not be until December, but here in New York, the nights can get awful cold starting as early as October. In the immortal words of Eddard Stark: winter is coming. If you need a break from the dropping temperature, then allow the ever-charming Jaymay to warm your heart. Starting October 26th, NY based singer-songwriter Jamie Seerman will bring her musical project back home for a residency at Rockwood Music Hall’s Stage 2. She will be playing every Friday through November 16th. Listen to Jaymay’s latest EP, “10UNDER2,” streaming below. – Josh Johnson

Photo Source: Witch Gardens

Witch Gardens will be hitting the stage at the Rendezvous this weekend along with Hive Dwellers, Craig Extine, and the Exiles. 

The quartet’s last EP R-I-P came out in April of this year, a three song bundle of jagged charm and cheer. Their music is refreshingly melodic and graceful without nosediving into twee pop’s precarious land of the saccarhine.

Lead track "Aunt Shae/Mean Colleen" is a natural spotlight grabber for the release, with its multi-faceted songwriting and suprisingly driving grooves. The start of the song begins as a softly materializing dream, harkening comparison to Sung Tongs-era Animal Collective or Women. The drums gallop; the guitarwork hastens; the vocals chime sweetly and matter-of-factly.

The closing song "Bakers Dozen" is more deliberate in its pacing. It possesses the twang of older Modest Mouse material while retaining their ’60s sunshine pop clarity. An enjoyable, lo-fi reverie through and through.

Doo-wop harmonies meet fuzzy rock with moments of freak folk affinity. In otherwords, ignore the catch-all words and just give them a prompt listen. Expect a genuine smile to pop up in no time.

Visit the Rendezvous this Sunday, October 7th to see the show for $7 with doors at 7pm. This is the venue’s first all-ages show, ever! Listen to "Aunt Shae/Mean Colleen" below and carry onto their bandcamp to hear the rest. You can purchase a copy of the 7” record over at Waterwing Records for $7. So many sevens; I wonder if they would conclude that, in the fabled words of the Pixies, "God is seven."

– Cameron LaFlam