Sexy Neighbors is a garage band from Brooklyn with a sound that reminds me a little of one of my favorite British post punk bands – The Stranglers, "Black and White" period – I guess because of the relentless organ parts and lead singer Felix Gottdiener’s commanding attitude. Native J (the lady behind the keys) also lends her voice to the band’s tunes, adding an unexpected, occasional dreamy element, in particular in "Seeds" (streaming below). This is a band that’s fun to listen to, and should be even more fun to witness live.

We’ve been following Brooklyn duo She Keeps Bees for a long time now, and it’s great to see them gaining more and more buzz (no pun intended, maybe). Their latest single “Counter Charm” (streaming below) was released this week and debuted on NPR’s All Songs Considered, and showcases an interesting development in their sound, in a direction that’s at once more atmospheric, punchy, and tense. Singer Jessica Larrabee howls over a dark, pulsating melody, pleading out “please stay” over and over. Larrabee, who is joined by drummer Andy LaPlant, possess a sinister tone throughout, at times reminiscent of Cat Power. The single also includes the track “Blue Moon,” one of the ominous forays of the 1930’s classic. She Keeps Bees is finishing up a tour overseas (for some reason it seems like every time we blog about them they are in Europe), but will return for US this fall for a string of shows in the… west coast – dudes, NYC shows??? – Devon Antonetti

Photo Source: Amelia G.

Blood Orange Paradise will be performing at the Black Lodge this upcoming Friday, July 20th. The lineup also includes Prizerog, Tropical Punk, and Ubu Roi.

The band self-released their debut record earlier this year, an eight track affair eponymously titled Blood Orange Paradise. In the span of its length, they manage to distill many of their Discord Records ’90’s era influences into a unique concoction that may be the cure listeners have been searching for. Their songs unfurl by their own accord, alternatively driving and pulsing or pensive and disquieting.

"The Other End" is a notable example that refuses to stick with any one flavor. Beginning with a whistling patch of feedback, the bass riff subtly hums itself into the mix, breaking into a post-punk groove kept in check by the full crack of the snare beat. The last minute of the track channels the best of bands like Fugazi and Malady, raising the stakes energy-wise without sacrificing melodic complexity.

Lead track "Gene Roddenberry Had A Vision" is guided by thoughtful, introspective vocals that deserve praise for their confidence and versatility. Genres aside, this song and others on the album reflect a band emboldened by their predecessors rather than hindered by them.

Check out BOP – (such a beboppin good acronym for a band) – on the 20th of July at the Black Lodge starting at 9pm. Listen to "With All Due Respect" below and continue onto their bandcamp to stream the entire release. It is also available for convenient digital purchase for only $4!

– Cameron LaFlam

Since their release of 2011’s “Celebration, Florida,” The Felice Brothers have had a rough go of it. Their home was hit by a hurricane, their tour Winnebago broke down, and their singer/lead guitarist was hospitalized. Yet the Americana band persevered through the adversity to deliver a new collection of songs. Entitled “God Bless You, Amigo,” the collection consists of twelve’s original songs and eight covers of traditional folk songs. The proceeds from “God Bless You, Amigo,” which can be downloaded exclusively from the band’s website, will go towards an official follow-up to “Celebration, Florida” and a new touring vehicle. The Felice Brothers will be opening for Modest Mouse at the sold out July 20 Montclair, NJ’s Wellmont Theatre, and “Lincoln Continental is streaming below. – Josh Johnson

Those who (like me) spend their life going through press releases and music submissions tend to develop often misleading snap judgment tendencies. When I read NYC songstress Anna Rose‘s name in my Inbox I expected your typical, a little generic, slightly boring singer songwriter – maybe because her name is a little… effortless? But the lady’s music proved me wrong. Admittedly, Anna doesn’t play the most outrageously innovative of genres – modern blues – but she does it with style. She recently got a good amount of press because of this video of a cover of "My Body is a Cage" by Arcade Fire, which she reinterpreted with a delicate, sparse and sober touch reminiscent of The Cowboy Junkies. Now she’s releasing another video, for the the title track of her forthcoming album "Behold a Pale Horse," due out later this year.

This week’s edition of On The Beat features prehistoric pummeler Sara Teasley of The Cave Girls and The Heavy Figs. She talks about hangin’ with Mr. Alice Cooper and her philosophy on music and fun. 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.

There’s something touching about the quiet voice of concern that Birthmark gives to the people he meets. Like the intimate chamber/electronic music of Destroyer or Jeremy Enigk, singer/songwriter Nate Kinsella uses random materials (whether these be drum machines or pizzicato violins) to pull something deeply personal out of otherwise far-flung genres. Whether the towering tribute of ‘Big Man’ or the mysterious source of inspiration in ‘You lighten me up,’ his latest LP ‘Antibodies’ digs deeply into the human condition. Birthmark pulls inspiration from unlikely places, repeating this sentiment over either baroque oboes and after-hours electronics alike.

In a desperate world filled with all manner of overlapping human and musical families, Birthmark designs a universe where both of these can live together. Handling his subjects in a delicate manner, one story at a time. – Mike Levine (@Goldnuggets)

Its official: NYC and SF scenes staples The Mommyheads have grown up. I guess that should be expected from a band fast approaching the 15 year mark, I just never thought I’d hear such an introspective sound from the kings of the hard indie groove. Not that they’ve lost any of the power and special weirdness that makes Adam Cohen and company such an iconic indie institution.

For the band’s just-released full-length ‘Vulnerable Boy’ (Dromedary Records), the band returns full of the quirks and charm that come from a group on par with Guided by Voices’s decibel levels. But you’ll find plenty more happening here on closer inspection that’s not quite as expected. In their latest single ‘Medicine Show,’ Mommyheads reveal a glow that swirls around their haunting ruminations on the limits of words. The song acts as much as a title track for the record as anything, and serves as a centerpiece of their new attitude. For a band that’s been around the block more than a couple of times, Mommyheads still have quite a few tricks up their sleeves. – Mike Levine (@Goldnuggets)

Free Mp3: The Mommyheads – "Medicine Show"
Free Mp3: The Mommyheads – "Science and Reason"

You won’t have to go through much of Ballroom Jacks‘ new EP ‘Do the Wolf Paw Waltz’ to understand what they brought you here for: it’s time to get moving, and you know it’s been too long. Sure you didn’t get the girl, but that’s no reason to mope around. As singer Will Arland says in closer ‘I Could Be You,’:”‘I don’t need you, I’m just jealous of you.”

A band exploring New York’s uptown in bouncy guitar-driven tracks like ‘Harlem,’ the quartet has more in common with Britpop icons like Blur and Arctic Monkeys than they might think. Like Albarn, Arlan channels personal relationship outcomes both good and bad to universal resonance with, band in tow. See them live at The Knitting Factory on July 21. – Mike Levine (@Goldnuggets) – This band submitted their music for review to The Deli here.

This past Saturday, American Catastrophe performed its final show to a packed crowd at the recordBar. The band was preceded by Omaha duo drakes hotel and Kansas City’s Noir-a-Go-Go darlings The Latenight Callers. Though both opening bands performed strong sets to a growing audience, the focus was clearly on American Catastrophe.

For 2 hours, the group played its acclaimed version of dark Americana to a crowd that continually hungered and hollered for more. The band performed favorites from its album Excerpts From The Broken Bone Choir, along with other signature songs including "Six Foot Whisper" and "Swing Edmond." By breathing life into these songs, American Catastrophe gave listeners a chance to hear why it’s been a mainstay of the Kansas City scene, despite releasing only one album in its lengthy career.

That night, each piece of music proved just as vital as the other. While the deep rhythmic foundation of Amy Farrand and Eric Bessenacher held down each song, Shaun Hamontree laid the groundwork with vocals that switched between a haunting low register and a brazen roar. As the multi-instrumentalist of the group, Terrence Moore enhanced the immediate mood of each song. An ominous banjo with a fearful, foreboding undertone; a chugging harmonica, navigating the listener through the nine circles of hell; or a screeching guitar, ripping clean through the soul. These are the types of sounds the successful 4-piece experimented with during its run and fully brought to fruition on Saturday. A fitting farewell to a fine, dynamic group.

–Michelle Bacon

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

(Editor’s Note: We apologize for the extreme lack of timeliness on posting this recap.)

The Wilders played an exhilirating and emotional farewell show on June 30 at Knuckleheads. The nearly sold-out show lasted for over 3 hours, with the band playing choices from its successful 15-year run. The first set began with the band centered around a single microphone, characteristic of its early days, and by the end of the evening, a full band whose power suddenly became fully realized commanded the stage. Whether The Wilders were playing old country standards or its sophisticated original alt-country tunes, the crowd remained on its feet throughout. 

During those 3 hours, The Wilders showed why they are as critical to the Kansas City music scene as they have been for over a decade, and why they’ve been the darlings of music festivals and tours around the globe. As the wind picked up and rain began to trickle, the group played more ferociously and sang more passionately, culminating in a warm, yet bittersweet celebration of a legendary group.

We want to thank The Wilders for being such an important part of Kansas City and its music scene. To Nate, Phil, Betse, and Ike: Salud!

–Michelle Bacon

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

If you haven’t figured it out by now, you might as well dance. I mean, you can try to avoid it if you want, but for your own sake I suggest you get down. As the overused meme states, do it like no one is watching. Might I also suggest you do so to the retro rampage sounds of The Hillary Watts Riot. With equal parts Prince, Blondie, and Devo, the band’s own sultry brand of freak pop is sure to get your hips moving. 

Straight out of some sort of half-swank/half-skank dive bar of late ’20s Chicago, the only thing A/S/L is missing is a 16-piece big band and an untimely bust by the prohibition police. Couple that with the tendency to thematically slip toward R-rated cheekiness. I bet Quentin Tarantino would love to take a stab at writing an accompanying movie for these songs. It could be the tale of the slightly nerdy girl from high school, the one with mussed stockings; her thick-rimmed, cat-eyed glasses always buried in a romance novel. Later, you’ll find out online that she eventually made it big on the East Coast as a burlesque dancer. I think balcony tickets for her show are still available.

The songs are most certainly driven by the siren wailing of Hillary Watts. Though purposefully goofy sometimes, her performance is bold, brazen, and oozes with sensuality, at times bordering on humor porn. If you can take your attention off her long enough—a totally intended circumstance, I believe—you’ll find tasteful instrumentation painting the floor sticky with yesterday’s Maker’s Mark. The band does its part to perfection, keeping the groove alive and spunky for Watts to perform upon. The musical interludes and solo sections provide a nice, contrasting energy to her almost-paroxysmal vocal performance.

Although Morris Day and the mutha fuckin’ Time might want their “Jungle Love” riff back from the middle of “Killer Kind,” I see this as an appropriate homage to an often too forgotten legendary funk and dance outfit.

If you get a chance, check out these cats, especially Asia the ragdoll, live. Their high-energy performances pack in just as much bombastic sensuality as the record. This seems like the kind of music that is best listened to bouncing off your body at just a hair too many decibels.

The latest single from A/S/L, "Slap Slap," is available for download today. Check it out below.

Shake your hips on Friday, July 27 at The Brick. Hillary and her jumpsuited Drones will be playing with The Sexy Accident and Howard Iceberg & The Titanics.

–-Zach Hodson