x
Artist of the Month
the_deli_magazine
top local artists
br spin
 
deli cover

 

 

The Sluts
"Loser (EP)
"
mp3

 Lawrence, Kansas (affectionately to be referred to henceforth as LFK) continues to be a source of the kinds of music that I want to hear more of and know more about. One band in particular has really caught my ear of late with a sound that’s raw, dirty, energetic, and undeniably attention-grabbing: The Sluts, a bare-bones twosome consisting of Kristoffer Dover on drums and Ryan Wise on guitar and vocals. Two musicians, no more, no less … but as the sounds you’ll hear on their new EP Loser will demonstrate, two musicians is plenty when it comes to making a substantial sonic statement.

 
Their mix of garage, punk, and grunge kicks things off with the opener, “Let Me Go,” as The Sluts tear things up with a grimy bounce firmly entrenched in 4/4 time. “Loser” starts with a tip of the cap to upbeat new wavey rhythms, but 25 seconds into the track, the boys re-establish the power presence that is their raison d’etre (how’s THAT for some damn NPR-speak, kids?). “Green” and “Linger” wrap up the four-track, barely-more-than-ten-minute EP with the sound that I’ve most commonly described as “Nirvana without Krist Novoselic,” as Wise’s sneering vocals and snarling guitar combined with Dover’s relentlessly on-point percussion give the music just a bit of Bleach-era homage while sounding very much of the present day.
 
I had the honor of introducing The Sluts during this year’s Midcoast Takeoverat SXSW; they were on the roster of the I Heart Local Music / Whatever Forever day-party that featured more examples of LFK’s finest (Black on BlackShy BoysJosh Berwanger Band, and Oils/CS Luxem). After a couple long days of music and food truck fare and drinking, the abrasive grind of The Sluts was a much-needed Brillo pad to the brain. Give Loser a listen, and keep an eye out for this band.
 
Love me some dirty, filthy, nasty The Sluts. Awwww yeahhhhhh.

--Michael Byars

Welcome to the new Deli Charts, organized by genre and scene.

To rank the artists with the star system go to the Top 50.


Cancel

scene blog
In only its second year, Boulevardia has experienced exponential growth as a music, food, and beer festival, curated by Boulevard Brewing Company and located in the historic West Bottoms district. Though its first year boasted a musical lineup of touring acts like The BoDeans and Catfish & the Bottlemen, this year exceeded expectations with J. Roddy Walston & the Business, Mayer Hawthorne, Atlas Genius, and more.
 
The festival also highlighted a bevy of local musicians on two stages, curated by Ink and 90.9 The Bridge. Among several others, the Greenville Acoustic Stage featured a Delta blues/gospel-inspired set from Kris and Havilah Bruders, one-man folk troubadour Nicholas St. James, and newly formed trio Lovelorn. Meanwhile, the Chipotle Homegrown Stage presented a diverse swath of artists, many of whom—such as The Architects, Hembree, and Making Movies—performed to a large, eager crowd singing along to their music.
 
Local groups also dotted the Boulevard Main Stage throughout the weekend. Outsides kicked off Boulevardia on Friday with a danceworthy set that warmed up the audience for In the Valley Below, MS MR, and The Mowglis. On Saturday, Captiva, Chris Meck & the Guilty Birds, and The Clementines endured strong sets in the sweltering heat before the evening’s headlining acts, which welcomed Boulevardia’s first sold-out day of 20,000 patrons. On Sunday, Sara Morgan and Hearts of Darkness warmed up a Father’s Day crowd for The Grisly Hand—who brought in a horn section to augment an already fully formed country sound—and Big Head Todd & the Monsters.
 
--Michelle Bacon
 
Here are some photos of the festival from Jaime Russell of Anthem Photography. To see more of Jaime’s shots from Boulevardia, visit her Flickr page.
 
Outsides
 
 
 
 
 
 
 
 
 
 
 
 
 
Hembree
 
 
 
 
 
 
The Architects
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Making Movies
 
 
 
 
 
 
 
 
 
 
June 23, 2015
|

(Photo by Hannah Lavenburg)
 
The Deli KC is excited to premiere the latest track from Margo May, “Bad To Me,” off her forthcoming album I’m Not Coming Home.
 
May credits much of her songwriting to Elliott Smith, whose voice comes through on this track’s melodic arrangement and its stripped-down, heart-rending honesty. She wrote “Bad To Me” as a result of a relationship gone wrong: “I really had to question my intention if I was a good or bad person,” she says. “A week later with no phone or Internet and I got ‘Bad To Me’ on my self reflection.”
 
The raw delivery of the song mirrors the intimate tone of the album, a departure from May’s polished pop tunes of the past. Recorded/produced in Kansas City by Tim J. Harte (Mother Russia Industries), its lo-fi sound lends more poignancy and sincerity to her subtle, breathy vocals and Doby Watson’s sublime, tasteful fingerpicking.
 
I’m Not Coming Home will be co-released on Mother Russia Industries and Double Shift Music and was mastered by Cory Schultz in Milwaukee. May and Watson will be embarking on a short tour in July, which includes an official album release show at Prospero’s on July 19.
 
 
--Michelle Bacon
 

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

June 22, 2015
|

(Photo by Todd Zimmer)
 
The version of Various Blonde I saw live at Czar in 2011 is very different from the band playing this Thursday at Lawrence Field Day Fest. The 2011 iteration, led by guitarist/vocalist Joshua Allen, moved through a set that dabbled a little in the psychedelic while adhering to a heavier rock and punk-based sound. It was a solid set, though I remember thinking the vocals needed something and the melodies hinted at something more. What exactly? I didn't know.
 
The release of Summer High a few years later illustrated the elusive what hinted at back at Czar years before. I caught up to a very different live band back in November at Apocalypse Meow, and again last week at The Riot Room.
 
The only element that remained from the band was Allen. His guitar and vocals were still there, but now different from what I remember. There was a new bassist, EvanJohn McIntosh, a new drummer, Mark Lomas, and the addition of keyboardist Eddie Moore. The three-piece had grown, shifted, and mutated into a very different band creating a very different sound.
 
There is a seriousness to watching this four-piece perform. Like any professionals at work, it is obvious they enjoy what they do. But, also evident is that they are on stage to work, put on a great show, and hone their craft. A lot of the songs they perform create a serious reflective mood, but they cut that stoicism nicely with soulful grooves and melodies that manage to conjure a very difficult thing: movement. I tried to fight the urge to move along with the tunes, but, damnit, I happily failed.
 
Joshua Allen can sing. His voice shifts effortlessly from an easy tenor to a smooth falsetto that avoids piercing metal clichés. That he is a solid guitarist is as advantageous as it is necessary to VB's sound. He could easily get away with just singing, moving to the music and fronting the band, but thankfully he doesn't. Without him, songs like "Savage Children" would fall into the trap of being a "jam" song. Which is fine I guess, but I wouldn't know, I've never made it through an entire "jam" song. Allen's guitar and vocals dice tunes like “Savage Children” into succinct, building well-rounded songs. While the vocals help guide on "Savage Children,” they truly shine on the danceable, rocking tune “Indigo Children.” The first time I heard that song was literally a WTF moment. A perfect illustration of the elusive what:familiar, yet totally different and new.
 
The consistent blues infused groove created by McIntosh is unstoppable. Good luck not moving some part of your body. McIntosh's bass lines lead without overstepping, cyclical but never simple. I've been a fan since his days in Cherokee Rock Rifle and am selfishly happy he's found another outlet for his formidable skill set.
 
I don't know how long McIntosh and Lomas have been playing together (I'm just that thorough a correspondent) but the sound they produce belies whatever actual time they've spent working together. Their styles align perfectly. Nicely complementing each other as the foundation of the tone and mood of this band. Lomas' playing seems unflashy, until you take a moment and try to keep up with what he's doing. Seeing and hearing this guy live as he holds down patterns and changes that would make a drum machine pass out is mesmerizing. And again, good luck not dancing.
 
The addition of keyboardist and local jazz standout Moore adds depth and changes things drastically for this group. From a songwriting perspective alone, Moore's instrument and playing allows for a myriad of new directions, from sonic to classical to his specialty, jazz. As a musician, Moore's jazz sensibility and musical intelligence lend themselves perfectly to McIntosh’s and Lomas’ rhythmic foundation. Moore knows how to create his own distinctive musical plots and subplots within the framework of the sound already set in motion by his bandmates; he does so effortlessly, and without overplaying.
 
Obligatory comparisons? You should make your own... while dancing.
 
With the excellent full-length Summer High already out, I can't wait to hear what these guys build next. Until then, they play at Lawrence Field Day Fest this Thursday, June 25, at the Replay Lounge before taking a little Summer Hiatus.
 
 
 

Video and story by Chris Nielsen 

June 22, 2015
|

Back in the late sixties and early seventies, when artists like Emitt Rhodes, Todd Rundgren, and that Paul fella from The Beatles made records all by themselves it was a noteworthy thing. It’s been done plenty of times since.
 
Usually badly.
 
In her modest home studio, Lawrence’s Heidi Lynne Gluck made such a “solo” recording.  On The Only Girl in the Room, Gluck sings and plays every note. And she made a terrific record.
 
Gluck has an extensive resume as touring and session musician, including a stint in the band Some Girls with Juliana Hatfield and recordings with Margot & the Nuclear So and Sos. A 10-year Lawrencian, Gluck played previously in The Only Children with her ex-husband, Josh Berwanger.
 
The Only Girl in the Room is a refreshing EP (the first of four slated for release on KC’s Lotuspool Records), a focused gem of songwriting and performance. With these five songs, three co-written with Kenny Childers, Gluck makes a persuasive case for her art.
 
Gluck’s melodies are both composed and natural. Her poetic but unpretentious lyrics reflect on relationships, and on identity and destiny. Gluck’s voice is not a powerful instrument, but it has character and quiet power. Her sensitive musicianship creates a discreet emotional undertow.
 
On the title track Gluck’s phrasing is subtly swinging, evoking singers like Rickie Lee Jones and Carol Van Dyk (Bettie Serveert), women who can pull off a smoky ballad better than the run of the mill singer-songwriter. The lyrics convey loneliness and isolation, but a certain pride and resolve at the same time.
 
Gluck’s chamber-pop production values are likely a product of both design and thrift; their economy gives the songs focus. “Target Practice” is a nuanced look at personal and social weariness and mistrust. Gluck’s admiration for Jon Brion—especially his production work with Aimee Mann—is evident here. “One of Us Should Go,” guitar-based and closer to the folk idiom than much of Only Girl, recalls Paul Simon’s early songs, with a bridge that tilts toward Brian Wilson melodically.
 
Gluck is a convincing multi-instrumentalist; perhaps most at home as a bass player. Her bass lines, simple and supple, give “Orchids” an affecting throb. She has a fine ear for details, images of “your perfect shoulders” and a timely shift to falsetto highlight the insinuating melody.
 
Only Girl closes with “Where Will They Bury Me.” Death and the deposit of one’s remains is not typical pop song material, but it’s stock and trade for blues and folk music. Gluck’s Rickie Lee- ilt, and a lyric worthy of Tom Waits, favors a meditation on family and origins­–more than death per se. “Where” sucks you in with a chorus melody quietly evocative of the maudlin sixties hit “Last Kiss,” (J. Frank Wilson and the Cavaliers … or Pearl Jam?) a tragi-comic ditty about a dude losing his gal in a car wreck. It lends a familiarity, leavening the solemnity of the lyric.
 
The job of an EP is simple—to leave you hungering for an entire album of material from the artist. The Only Girl in the Room is a varied, inviting, and brief recital that introduces Heidi Lynne Gluck, and makes you want more.
 
--Steve Wilson
 
 
Catch Heidi Lynne Gluck with her full band next Saturday, June 27 at Lawrence Field Day Fest; they’ll be playing at Eighth Street Taproom at 10 pm.
 

 

June 17, 2015
|

Congrats to our June Artist of the Month, Brooklyn Rye! This new blues-influenced rock/pop group is fairly to the KC/Lawrence scene, making its live debut earlier this year. Find out more about the band and see what they have coming up.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Brooklyn Rye: Time warped rock & roll best paired with a good whiskey.
 
The Deli: Give me some background on Brooklyn Rye. How did the band come to be?
 
Brooklyn Rye: The band started nameless in the dormitories of a small junior college in southeastern Kansas. Zach Dodson, Branden Moser, and Steven Bauer passed the time by creating simple progression songs with melodies that usually piqued the humor of the group. Bauer and Moser continued writing songs in this fashion before forming their first band in summer 2014. Kyle Babson had played with a group of friends in college and had toured the Midwest before meeting Bauer, Moser, and Dodson. On the search for a female vocalist Moser found Grace Griffin, who had been a solo singer-songwriter looking to collaborate with other musicians around the Kansas City area. Then we started jamming and haven't stopped.
 
The Deli: What inspires your music and songwriting?
 
Brooklyn Rye:Life, love, loss, hope, sex. We write about what everybody feels and goes through in their life. We just tell our side of the story. We try to always push each other out of our comfort zones and try to create something that has parts of all of us. A Frankenstein of music roaming the streets of Kansas City.
 
The Deli: What have been your greatest accomplishments as a band?
 
Brooklyn Rye: We feel that being able to play music everyday with your best friends and share that music is our greatest feat. We are just lucky enough to have the opportunity. But we are honored to receive the Deli KC’s Emerging Artist of the Month.
 
The Deli: Do you have any recorded music or anything in the works? What can we expect?
 
Brooklyn Rye: We have released two demo tracks (“Demon Shake” and “Hangman”). We have an EP in the works without a release date at the moment but probably winter/spring . In the meantime, we are branching out later this summer/fall to continue pushing our own boundaries and road test new songs for the record. We adore playing live so we just try to work sessions around that.
 
The Deli: What does supporting local music mean to you?
 
Brooklyn Rye: In Kansas City alone, there are hundreds of bands that go unnoticed that have a great deal of talent. This city has so much to tell the world, and Kansas City's choice of medium just happens to be song, which is pretty damn cool. We like to believe in the underdog and that you can make music and be seen and heard no matter where you're from.
 
The Deli: Who are your favorite local musicians right now?
 
Brooklyn Rye: Grand Villanova, Me Like Bees, Scruffy and The Janitors, Radkey, and the other bands in the poll with us.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Brooklyn Rye: The ‘69 Woodstock bill would be pretty rad.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Branden Moser: That's impossible. I'd put the other four members of our band on there. They're pretty good looking and would provide great overseers for the people of South Dakota.
 
The Deli: What goals does Brooklyn Rye have for 2015, and beyond?
 
Brooklyn Rye: Recordings, festivals, gigs—anything we can get our hands on. We want to fully immerse ourselves in music.
 
The Deli: Where can we find you on the web?
 
Brooklyn Rye: www.brooklynrye.fm
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Brooklyn Rye: Stay hydrated and ration the use of selfie sticks, people.
 
Brooklyn Rye is:
Steven Bauer: vocals
Kyle Babson: bass, guitar
Zach Dodson: drums
Grace Griffin: vocals
Branden Moser: guitar
 
 
--Michelle Bacon
 

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

June 17, 2015
|

Though they created an online presence two years ago, Witch Jail has only been playing out as a band for a short time. Formed by husband-and-wife team Rob Gillaspie and Emily Filley, the group recently added drummer Zach Turner to the mix. Gillaspie—formerly of Lawrence bands The Spook Lights and Pale Hearts, as well as The Cramps tribute band Stay Sick—lends his extravagant frontman stylings to the surfy, primitive garage rock band. Witch Jail’s music has all the makings of the soundtrack to a sleazy horror movie, and we mean that in the best possible way. The trio sat down together to answer our questions, and we think you’ll be amused by the answers.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Zach Turner: Pineapple Boom Bop.
Rob Gillaspie: LISTENABLE. Incredibly listenable Pineapple Boom Bop.
Emily Filley: A 45 you find in a thrift store dumpster but don't know if you wanna listen to it.
Rob: I would. It's LISTENABLE.
Zach: It came from the garbage disposal.
 
The Deli: Give me some background on Witch Jail. How did the band come to be?
 
Rob: There is this picture from the ‘40s of these classy­looking schoolgals standing in front of the old Salem Witch Jail in Massachusetts. We saw that and decided to steal the name before anyone else could. Made a Facebook page and a Bandcamp page before we even had any instruments. Locked it down. Conjured up the band around it. SORCERY. I'm used to just being a wild­ass frontman, breaking bottles on my head and taking off my pants and all that... so being anchored to a guitar has been a real humbling experience for me. It's a good thing.
Emily: You forced me to play guitar even though I was super sick.
Rob: What?
Emily: Yeah! Remember that time I was sick for 6 weeks?
Rob: I forced you to play guitar?
Emily: Yeah, you were like, “We should do this!” and I was like, “I can't even stay awake right now.”
Rob: So you're saying I healed you? I cured your illness?
Emily: Yes.
Rob: THAT'S WITCHCRAFT.
Emily: We went through a slew of drummers. Then Zach came up to us in a bar and asked if he could play drums for us.
Zach: That's how I get all my drumming gigs. I just go up to people and ask. That's how I ended up playing with Folkicide, too.
 
The Deli: What inspires your music and songwriting?
 
Rob: Vintage melodramas. Old comics and sleazy movie trailers. Slime. Artists of singular vision­­ like Doris Wishman or that guy who directed Miami Connection. Unsolved murders. Drugs, obviously. The Devil—not the metal one but the blues one. Ghosts—at my age, the kind of life I've led, you start to know quite a few of them.
Emily: Romance comics, cats, shoplifting, movies.
Zach: Sticky buns. I think about sticky buns. Don't put that.
Emily: Those sticky buns are gonna be good when I'm done. Better hurry up and finish this song.
Rob: What about your drumming? What inspires your drumming?
Zach: I just like to hit stuff.
 
The Deli: What have been your greatest accomplishments as a band?
 
Emily: Not getting frostbite in the shed at Satan's Gay Acid Bath.
Rob: I was gonna use that show, too. Opening for Guantanamo Baywatch in that freezing shed. They're one of my favorite bands. Also, Getting Zach to play drums for us.
Zach: I don't know. SHE'S ASKING THE TOUGH QUESTIONS. I thought this was gonna be a fluff piece.
Rob: Actually, the fact that we're playing shows ANYWHERE is an accomplishment. I'm just happy Kansas City has been such a good fit for us. We love it here.
 
The Deli: Rob, you’ve been playing music in the KC/Lawrence area for a number of years. How has the scene changed, in your opinion?
 
Rob: I don't know that it's changed a whole lot. The way I interact with it has changed as I've gotten older, sure... I think the only thing that really changes in a scene is perspective. The music in KC has ALWAYS been on point. It's a creative town, lots of energy here. That being said, there's always an ebb and flow. Kansas City just happens to be FLOWING in a huge way right now. We just moved here after living in Lawrence for 20 years. Lawrence is... not really a GULCH these days, but close. There's certain things going on with the economy over there that makes it hard to be a struggling artist. Which is probably why KC keeps stealing such great talent from there, ha ha ha. I know it's a BIG reason we decided to migrate here.
 
The Deli: Do you have any recorded music or anything in the works? What can we expect?
 
Rob: We have a really rough demo up on our Bandcamp page, but we're gonna record everything over again, then start shooting music videos. Maybe do a horror movie about killer cats. And definitely put out a tape soon.
 
The Deli: What does supporting local music mean to you?
 
Rob: Reducing the amount of shit I talk online about local bands I don't like.
Emily: Buying a round of shots for bands when we see them play.
Rob: I'm too broke and crotchety to get out to all of the shows I want to see, which is A LOT of shows, so I try to do my part by spreading the word to people, help build audiences. I've been trying to do art for local bands that I like, too, whether they want it or not. Ha ha ha.
 
The Deli: Who are your favorite local musicians right now?
 
Witch Jail: Johnny Blood. Lazy. Schwervon!. Psychic Heat. Drugs and Attics. Cop Knock. Folkicide. The Quivers. The Bad Ideas. The Latenight Callers. That band Bill Murray likes (The Philistines). Pretty much any band playing at the Green Lady.
 
The Deli: Who are your favorite non-local musicians right now?
 
Rob: Martin Denny? Liberace?
Emily: Can it all just be dead people?
Zach: Guantanamo Baywatch. Shannon and the Clams.
Rob: La Luz. I like them a lot.
Emily: Kid Congo and the Pink Monkey Birds.
Zach: Cherry Pits are really good. The Rebel.
Rob: I listen to rock music some of the time, but when I'm at home I mostly listen to exotica albums and lounge music.
Zach: I mostly listen to bubble-gum pop and soundtrack music.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Zach: Wrestlemania in Hawaii.
Emily: Hasil Adkins with Tom Lehrer and The Cramps. The Cramps with Kid Congo.
Zach: I don't know. I don't really have a fantasy concert.
Rob: Playing at some seedy fucking titty bar in the 1950s and ending up on one of those Las Vegas Grind comps later on. Or opening for ourselves from 20 years in the future.
Zach: I'm not really a concert guy. So I don't really have one. I like albums better.
Rob: That's a really good answer. I feel like a lot of people come up with really extravagant concerts…
Emily: "The Who and Cher!"
Rob: …I think that's a way more honest answer though. I totally feel that.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Rob: We were gonna say the Residents at one point, just four eyeballs.
Emily: Poison Ivy, Levi Stubbs, Mark Mothersbaugh, and Tuna from the Rock Cats.
Zach: Paul McCartney, John Cage, Erik Satie, Macho Man Randy Savage. There was a question on one of those Legends of Wrestling specials; it was an episode about managers, and they actually had a graphic of their top four managers on Mount Rushmore.
Rob: No girl groups?
Zach: Fuck. I wanna change Macho Man to Ronnie Spector now.
Rob: Martin Denny, Link Wray, Mrs. Miller... Nah, my Mount Rushmore is gonna have The Chipmunks and Screamin' Jay Hawkins on it.
Emily: You're just doing that out of spite!
 
The Deli: What goals does Witch Jail have for 2015, and beyond?
 
Emily: Get the all­important Dan Aykroyd endorsement.
Rob: Get a Crystal Skull vodka endorsement.
Zach: I don't like vodka, though.
Rob: You like Dan Aykroyd, don't you? Then you'll like his vodka.
Emily: We'll just fill a crystal skull with gin for you.
Rob: Also, supporting Zach in his bid to become a pro wrestling manager. What's the story with that?
Zach: The story is, I got a walrus in my bathtub and a crapper fulla diamonds, and I'm gonna buy me a fucking champion!
Emily: And we're gonna ride his coattails to stardom.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Zach: You should probably die before the war.
Emily: Good times, great oldies.
Rob: Never shower. It washes your creativity down the drain.
 
Witch Jail is:
Rob Gillaspie (Guy Slimey): guitar, vocals
Emily Filley (Suzy Bones): guitar
Zach Turner (Tommy Guyana): drums
 
There are several opportunities to catch Witch Jail this month; the first is tomorrow, June 9, at recordBar with Lazy, Heavy Buffalo, and Mr. & the Mrs. Facebook event page. They’ll also be at East Wing next Wednesday, June 17.
 
 
--Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands.
 
 

 

June 08, 2015
|

aom

New Poll Coming Soon!

[sponsored by]




- news for musician and music pros -