Every now and then, you just want to hear some raucous, boisterous rock ‘n roll. Though few bands can pull it off effectively and get a crowd on its feet, St. Dallas & the Sinners can. We talk with the group and find out more about the mark they’re making on the Kansas City music scene, their influences, and their belief that the Internet is a passing thing.
The Deli: Down and dirty: 1 sentence to describe your music. What is it?
St. Dallas and the Sinners: Filthy Dirty Rock ’n Roll!
The Deli: What should we expect from a St. Dallas & the Sinners show?
St. Dallas: You can expect our live show to be a spectacle. There’s really no other word for it.
The Deli: Tell us about what you have coming up this year. What can we expect?
St. Dallas: I think for the near future we're really focused on introducing ourselves to the Kansas City scene and the region surrounding. We've also got a full-length out called Hail Mary that’s available on Spotify, iTunes, or whatever else the kids are using nowadays. We're pushing through a bunch of new material at the same time. Not sure when we’ll lay that down though. We’re looking to bring our music and live show to as many people as we can (and party with them!).
The Deli: What does supporting local music mean to you?
St. Dallas: It means supporting the community, and I'm not just talking about the music scene. Stop shopping at Wal-Mart, buy local. Kansas City has such an awesome palette of arts, music, food, and culture, there's no reason not to. There are always opportunities to get involved, and when you do, it opens your mind, and allows you to see and hear in a new way.
It also means getting off your ass and doing something. Learn an instrument, start a band, go to shows, buy band merch, help touring bands. I hate it when you go to a "hardcore" city or a "punk" town, where the only thing anyone wants to do is sit around and pontificate to each other about how the scene is "dead" or how so and so's band is just a bunch of posers. If you don't fit in their narrow idea of what "good music" is, you're completely ignored. The reason the scene died is because no one went to shows, and no one wanted to do the work to keep the scene alive. For any "scene" to thrive there needs to be diversity, people need to be encouraged and businesses need to be supported. I don't know about you, but I don't want to eat the same regurgitated shit every day. Luckily for us and everyone else in KC, we don't have that. We have a great community of open-minded people who are willing to step up and support each other.
The Deli: Who are your favorite local musicians right now?
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
St. Dallas: 1,4,5…KEEP IT ALIVE!
St. Dallas & the Sinners are:
St. Dallas – harps, vocals
Manila – guitfiddle, vocals
Rabbit – bass
Nick – drums/percussion
The guys will be bringing their brand of filthy, dirty rock ‘n roll to The Brick on Saturday, June 15. They’ll be playing with Jason and the Punknecks from Nashville at 10:00. Show up for what’s sure to be a rowdy, exciting evening.
I am a sucker for a good rock song and a catchy hook. Those seem to be top priorities for Red Velvet Crush on its new EP Smoke and Mirrors. The band spent the first part of 2013 traveling back and forth to Austin to record at yellowDOGstudioswith resident producer Dave Percefull, whose credits include such recognizable names as Green Day, Bowling for Soup and KC area Idol David Cook. All songwriting duties were split between lead singer Jillian Riscoe and guitarist Daniel Mendala on this four-song introduction to the rock pop outfit.
Riscoe reminds me a little of one of my favorite female rock vocalists, Eleanor Whitledge, of the punk band The Goops. Riscoe and Mendala recorded all the vocals, guitar, and bass tracks with studio drummer Josh Center. Percefull took care of some of the drums as well as the key and synth tracks.
The opening track starts with a hard electronic feel and a 1/16th-note driving bass line that pushes the verses. Chugging muted guitars give way to Riscoe’s declaration of the chorus, “You Didn't Lose.” Hard-hitting rock with pop sensibilities continues into track two, "Contents: Under Pressure.” It’s a slow and steady emotional one that keeps the vocals in the forefront—that one stayed in my head for awhile. The penultimate track begins with a soft voice and haunting piano riff, then kicks in quick with a tale of being "in love with a monster, devil in disguise... hiding behind blue eyes.” This rocker pulsates through 3 minutes and you don't want it to end. Smoke and Mirrors closes with the positive, uptempo message of grrrl power with "Girls Rock TOO" that will have your head bobbing and your feet stomping.
Red Velvet Crush has been honored with accolades from the 2013 Project Backstage Midwest Rock Awards, including Female Vocalist of the Year and Best Acoustic Performance of the Year. The vocalist award doesn't surprise me, Riscoe has got pipes and knows how to control them. And there are plenty of YouTube videos of Red Velvet Crush online to back up the best acoustic award.
You can get your copy of Smoke & Mirrors this Saturday, June 15, at Czar. Doors at 5:30, show at 6:00. Red Velvet Crush will be playing with I Am Nation, Fight The Quiet (Nashville), The Amends (Colorado), and Root & Stem. Presale tickets are $5 for general admission and $10 at the door. You can also order a $15 presale ticket, which comes with a limited edition autographed copy of the new EP and a vinyl sticker. Order tickets here. Facebook event page.
--Gavin Mac
Gavin Mac is a local musician, avid consumer of whiskey, and has a penchant for mischief. He may be lured to dark alleys with grape soda and has a plethora of socks.
High Moon Order slips on like an old flannel shirt or a broken in pair of jeans. If comfort food were thirteen tracks of down-home musical cooking, it would sound a lot like this. The introduction to Betse Ellis’s solo album is “The Traveler.” I was surprised by the lush pop writing elements. It is a warm handshake with earthy acoustic instruments. This is a departure from the feel of Ellis’s band The Wilders. There are also some obscure fiddle songs that round out the album.
“The Golden Road” delivers what I expect from Ellis: a solid mix of bluegrass, folk, and country elements. The lap steel playing is űber tasty. Next is “Long Time To Get There.” Bluegrass enthusiasts will genuinely love this track. Her playing is exquisite. Fans will rejoice that there are five instrumentals in total. “Dry and Dusty” is a front porch bottled up in a little digital cocktail. The musicianship on this track is outstanding. It’s simplicity in arrangement and construction will pull the listener in for two minutes and fifty-one seconds of daydream immersion.
“Straight To Hell” is a cover of a Clash song and easily won as my favorite song. The vocals are mesmerizing. The drums sound reminiscent to something you would hear from Florence and the Machine. The chorus left me singing for hours after my first listen. I enjoyed the bigger production and effects. After the third instrumental “Elk River Blues” and its fantastic melody line comes “Twilight is Stealing.” A more traditional song, the voices of Ellis and Roy Andrade (who also plays banjo on the album) meld magically together. Traditionalists of American bluegrass and roots music will appreciate Ellis’s attention to detail in song delivery.
The eighth track is “The Complainer.” Versatility, delivered. This track reminded me of a mesh of Public Image Ltd (PiL), The Clash and about 40 tons of Hillbilly Riot. Even though I love the tradition songs, this ended up being my second favorite. Any rock band would love to have it in its portfolio. The record settles in with “When Sorrow Encompass Me ‘Round” and “The Collector,” both being solid additions. The last two instrumentals “Stamper” and “Queen of the Earth and Child of the Skies” are a continuation of the stellar performance standard. At this point, I should acknowledge the engineering, mixing and mastering work on the album. There is great consistency across the recordings. Overall, the album art and production are splendid.
Lastly, there is a big embracing hug to say, “…so long friend until next time” in the song “Question to Lay Your Burden Down.” Here again, are the pop kisses added to cement the fact that you will anxiously awaiting this founding member of The Wilders next solo effort. High Moon Order is a fantastic choice for your summer 2013 music additions.
Editor’s Note: High Moon Order is being released on Free Dirt Records and was produced and engineered by Mike West. The accompanying musicians on the album were Roy Andrade (banjo, guitar, vox), Jason Beers (bass), J.J. “Yukon Jimijon” Hanson (upright bass), Mike Horan (guitar), Jonathan Kraft (drums), Josh Mobley (keys), Mark Smeltzer (vox), Michael Stover (electric/acoustic/steel guitar), Mike West (percussion, vox), and Phil Wade (vox).
Tonight’s the night! Ellis and friends will celebrate the release of High Moon Order at The Brick. Music starts at 9:00 with an acoustic set, featuring Ellis playing solo, with combinations of others, and with a special string segment. Adam Lee and the Dead Horse Sound Company will play around 10:15. The full band from High Moon Order will perform around 11:30 with other special guests. Local artist Héctor Casanova will be doing live art in response to the performances. Facebook event page.
--William Saunders
William is a local record producer, singer/songwriter, and guitarist/singer for The Walltalkers. He is also the head monkey at Saunders Street Records and still likes movies with giant robots.
If you seek hooky, strong rock anthems, look no further than KC’s own Red Velvet Crush. Fronted by veteran vocalist Jillian Riscoe, the young band has already received recognition around town (Riscoe won female vocalist of the year and the group won best acoustic performance of the year in the 2013 Project Backstage Midwest Rock Awards). Now, the five-piece group is getting ready to debut its EP Smoke & Mirrors. We talk with Riscoe and guitarist Daniel Mendala about the album and what they have coming down the line.
The Deli: Down and dirty: 1 sentence to describe your music. What is it?
Red Velvet Crush: Pop/rock with hints of punk, dance, electronic and hard rock mixed with what we do.
The Deli: Tell us about your upcoming EP Smoke & Mirrors. What can we expect?
RVC: Chapters of what we've been writing over the last year while putting the band together. We (Riscoe and Mendala) wrote and recorded the whole EP at yellowDOGstudios in Austin, TX with producer Dave Percefull and studio drummer Josh Center. Smoke and Mirrors is the just the first of what's to come.
The Deli: What does supporting local music mean to you?
RVC: Creating genuine support and networks of music loving people. Going out to shows and supporting bands that are working to get to the next level.
The Deli: Who are your favorite local musicians right now?
The Deli: What other goals does Red Velvet Crush have for this year?
RVC: To promote Smoke and Mirrors, finish building our stage show, tour in the fall, and step back in the studio at the end of the year. Plus, Daniel and I are doing a lot of writing for Red Velvet Crush and for other artists.
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
RVC: Dreams to realities.
Red Velvet Crush is:
Jillian Riscoe – vocals, guitar, keys
Daniel Mendala – guitar
Kelsey Cook – drums/percussion
Josh Colburn – keys, synth, guitar
Bill Wald – bass
Make sure you hit up the release of Smoke & Mirrors this Saturday, June 15, at Czar. Doors at 5:30, show at 6:00. Red Velvet Crush will be playing with I Am Nation, Fight The Quiet (Nashville), The Amends (Colorado), and Root & Stem. Presale tickets are $5 for general admission and $10 at the door. You can also order a $15 presale ticket, which comes with a limited edition autographed copy of the new EP and a vinyl sticker. Order tickets here. Facebook event page.
From the first time I watched the video for “The Tease,” I succumbed to the fact that I was a fan of The Latenight Callers. Their ability to blend classic sounds with contemporary styling and a fresh approach is exactly why they are a local favorite. No doubt that TLNC has a very high ceiling. Those unfamiliar with the band will love their unique sound. They have a swanky blend of early Portishead, Garbage, and Lana Del Rey, but with an attitude that is genuinely their own.
I listened to Songs For Stolen Moments—the band’s first full LP—three times prior to initiating this review. Like a good movie, this record sucks you in and gives you a departure from the world for 53 minutes. The drum machine programming and keyboard work by Nick Combs is standout; the musicianship and vocal performances overall are top-shelf.
Songs For Stolen Moments starts off with “In Cold Blood,” which leads me to expect Humphrey Bogart stepping into a smoky bar with TLNC on stage. Classy and timeless come to mind. The journey steps to “Gypsy Moll,” which has a slight Garbage-meets-Ray Manzarek sound. The guitars are ripe with feel and the solo is perfectly suited to the song. Julie Berndsen’s voice is seducing, with or without the bullhorn effect.
The third track, “Straightrazor,” could be the next James Bond theme song. Krysztof Nemeth’s baritone guitar work on this track is catchy while maintaining a sultry feel.
Since it was the TLNC first song I heard, I’m partial to “The Tease.” The song represents the hit potential of this band. Its hypnotic nature is a consistent aspect throughout the record—it really does compel you to listen completely. The flow into “Red Bricks, White Ghosts” feels natural. “Thunderbolt” takes it up a notch, with a little nastier and dirtier sound. I appreciate how the album evolves that way.
I’m a fan of any production that uses sound effects and short titles on its albums, so “Interlude” into “Sleepless” is a perfect story to tell the listener. “Sleepless” ended up being my favorite song on the album. It has everything that you expect of TLNC’s sound. Gavin Mac’s bass line is catchy, the melody line is memorable, and Bernsden’s voice sounds amazing. “Tourniquets,” with its wild syncopation, was a fun track.
The album winds down with the cool marimba sounds and great arpeggio guitar of “The Big Sleep,” a nearly seven-minute song. It is followed by “Odessa,” another great song with nice effects and sonic landscape, which proved to be my second favorite track. Lastly, they lead us to the door of that swanky bar and bid us good night with the last cut, “Epilogue.” Overall, the production and song craftsmanship is blissful and intriguing.
Editor’s note: Songs For Stolen Moments was mixed and mastered by Duane Trower at Weights and Measures Soundlab in Kansas City. Video for “The Tease” was produced and directed by Anthony Ladesich. The version of the song for the video was on the band’s debut EP, most of which was re-recorded for this new LP.
Be sure to don your finest suit or gown and head to recordBar this Saturday, June 8, where The Latenight Callers are hosting a special release party for Songs For Stolen Moments. Thick and the Foolish and In Back Of A Black Car will also perform. Show starts at 10:00. Facebook event page.
--William Saunders
William is a local record producer, singer/songwriter, and guitarist/singer for The Walltalkers. He is also the head monkey at Saunders Street Records and still likes movies with giant robots.
Several local bands have released albums today. Here's a short preview of each.
The Jinxed – The Loon (Digital 7”)
If you haven’t heard of The Jinxed, you’re probably in good company; but you should recognize most of the names. This local supergroup of sorts has emerged with a digital 7” released by Sharp County Records today. The group—who also plays together in local cover band The Magnetics—includes lead vocalist and guitarist Bobby Topaz (Bad Wheels), and Antennas Up members Jon Ulasien (piano/synth, drums, bass, guitar, backing vocals) and Bo McCall (guitar). Ulasien recorded and produced the record, and Lennon Bone (Ha Ha Tonka) provides trumpet on the title track.
And from this track alone, there’s plenty of reason to give this group some well-deserved buzz. “The Loon” is a driving pop-rock diddy drenched in a feel-good ‘70s glam sensibility. Penned by Ulasien, the track has the infectious pop intensity of an Antennas Up song. McCall’s squealing guitar brings a psych element to the music, and Topaz adds the cherry on top with his charismatic vocals that strut seamlessly across the aural landscape.
Let’s keep our fingers crossed for future recordings from these guys.
Hidden Pictures – Sister Wife (EP)
Hidden Pictures releases Sister Wife, a 3-track EP, today on Golden Sound Records. The songs were recorded with a host of local talent: band regulars Richard Gintowt (lead singer/songwriter), Nate Holt (keys), and vocalist Claire Adams (Claire & The Crowded Stage, Appropriate Grammar, Quirk & Ruckus), guitarist Jeff Freling (Victor & Penny), bassist Kyle Akers (Antennas Up), and drummer Lennon Bone. Though a slight departure from the band’s previous recordings, Gintowt’s songs retain their characteristically clean-cut, bright pop leanings. Sister Wife was mixed by Joel Nanos at Element Recording and mastered by Doug Van Sloun at Focus Mastering in Omaha. Drums and bass were recorded by Paul Malinowski at Massive Sound Studio.
This Friday, June 7, Hidden Pictures will be playing at the Crossroads Summer Block Party on 19th and Wyandotte. This will include eight local bands from Golden Sound Records and The Record Machine, along with food trucks and art/fashion vendors. The free fest goes from 6 to midnight; Hidden Pictures plays at 9:00.
Red Velvet Crush – Smoke & Mirrors (EP)
Smoke & Mirrors is the debut EP from Red Velvet Crush, fronted by young veteran musician Jillian Riscoe. The album was produced by Dave Percefull (Green Day, David Cook) at yellow DOG Studios. These four tracks give us an idea of the dancey but heavy-hitting appeal of a young band that fires from all corners of its material.
The band will have a special release party for Smoke & Mirrors at Czar on Saturday, June 15 at 6:00. The show is all ages and $5 presale or $10 at the door. Facebook event page.
Singer/songwriters Doby Watson and Margo May have teamed up to record Watson & May, a 7-track album that has been released digitally today. Tapes will be available at shows. May’s dreamy vocals coupled with Watson’s heavy-hearted, mature voice add critical textures to the sparse tone of the instrumentation. Watson & May was produced and engineered by Lennon Bone.
Tonight, MidCoast Cares (who also raised money for the relief effort in the 2011 Joplin tornado) presents Rock For Relief: A Benefit for Moore, Oklahoma, which was recently devastated by a tornado.
Doors open at 5:30 and the show starts at 6, beginning with Ghost Town Heart, then She's A Keeper, Not A Planet, Antennas Up, Beautiful Bodies, and closing out with Cover Me Badd. The event is at KC Live! in the Power & Light District. There are NO presale tickets. General admission is $10; $20 will get you entry, two drink tickets, and access to the VIP Lounge. All proceeds will go to benefit the tornado recovery in Moore through Heart to Heart International. A silent auction will also be held, and the first 200 attendees will receive a buy-one-get-one-free card from Chipotle.
Join the Kansas City music community for a great cause to help our neighbors in Oklahoma. Here's the Facebook event page.
The Kansas City music community continues to thrive and expand, something The Deli KC is happy to support and report on, and this trend continues to build momentum with each passing year and each new album release. And by no means is this a boys-only club, of course; over the past several years there has been no shortage of great female singers in many genres: Abigail Henderson, Lauren Krum, Alicia Solombrino, Julia Haile, Danielle Schnebelen, and Shay Estes, just to name a half-dozen. These ladies can not only rock the mic—they do so fearlessly and effortlessly, providing a presence that is both captivating and unforgettable, and all are members of bands that bring great things to the stage whenever they’re on. There’s another name and another band vying for a place in your record collections, one that has been working the circuit, playing bars and clubs from Lawrence to Columbia and all points in between, and with the release of their full-length self-titled debut, The Clementines are ready for their well-earned time in the spotlight.
The Clementines started as a duo in 2011 with founding members Nicole Springer and Tim Jenkins each playing acoustic guitars and using their time to hone their singing and songwriting chops. They added the rhythm section of Stephanie Williams and Travis Earnshaw the next year, a move that gave heft and [if I may use a technical term here] oomph to support the power of Springer’s mighty pipes. And while they may have a lead singer whose voice can turn walls into rubble at any given moment, Springer doesn’t simply lean on her internal volume control switch in an effort to overpower her listeners. In The Clementines you’ll hear a great deal of control and command, as the music calls for presentation that runs from pensive to melancholy to victorious to daring to outright sassy. She’s got all the tools, and like any good carpenter or mechanic, she knows which tools to use and when to use them. No song features a delivery that seems out of place, and no mood is falsely presented.
Any band with such a commanding presence at the front runs the risk of being overshadowed by that voice, or of being seen as “hangers-on” who are only along for the ride because of the talent of the lead singer, not because of their own abilities. There is no such worry with The Clementines, as this is truly a band with quality at all positions. Jenkins has adapted and enhanced his guitar playing to accommodate both duo and quartet arrangements; his skills have progressed greatly since I first saw the two-piece version of the band on the recordBar stage a couple years ago. Earnshaw lends a stalwart bass presence, never pushing his way into the spotlight, but never fully conceding to the twin-mostly-acoustic-guitar sounds which he augments in fine fashion. His ability to set a warm, comfortable foundation to the proceedings is crucial to the cohesiveness of the music. And Williams is simply described in the band’s bio as “bad-ass drummer”; that’s about as spot-on as it gets. The Clementines features a wide array of genres and influences—rock, soul, jazz, Americana, gospel, blues—and their rhythmic timekeeper doesn’t miss a beat (literally and figuratively) throughout, keeping lock-step with her bandmates at every turn. If playing music with such a dominant frontwoman is a challenge, then Jenkins, Earnshaw, and Williams are more than up to the task throughout the album’s fourteen-track playlist.
A few CliffsNotes-sized looks at some of those tracks:
“Rough Times” – The first single released by the band; Americana-rock sounds with an underlying jazz snarl. To say that acoustic bands can’t groove is ridiculous, and this track serves as Exhibit A of that argument.
“Soul, Mind, Role, Survive” – The one electrified song on the album, with an added punch that gives it a ‘90s alt-rock vibe. A great change of pace.
“Could Have Been” – A menacing slice of backwoods swamp-pop swathed in Southern-fried goodness. Undeniably catchy and hooky.
“Say” – The most intricate playing by all four members, showing off the instrumental skill sets that make this band a quadruple threat.
“Responsibility” – This may be my favorite track on the album; Springer’s delivery goes from delicately soft to passionately earnest without breaking stride.
“Sightless” – Acoustic rock doesn’t get any better than this, pure and simple. Maybe *this* is my favorite track?
“Should I” – A delicate arrangement that made me think Western madrigal, which I can’t explain but it just sounds like it fits. If you’re a fan of Calexico (and you should be), this is a track for you.
“Moved” – A textbook closing track musically and one of the most lyrically powerful, an expression of longing and love lost; a very courageous move on the part of the band to close with a song that does not offer the listener the prototypical “happily ever after” ending. Okay, THIS might be my favorite track.
We all like to see friends and neighbors succeed, and when they’re willing to bust their asses to make good things happen for themselves, it’s all the more rewarding. Bands like Making Movies, She’s A Keeper, and The Latenight Callers are proof that constant work, abundant publicity, and outright ability will get your music heard. The Clementines fit that bill, with an increasing number of shows over the past few months which have led to their self-titled album being a reality—and a reality which you should tune in to. As Springer sings in “Bayou”, the album’s opening track: “I leave it up to you when we're at the bayou / to renew my existence, to sanctify my consciousness.”
Existence renewed, consciousness sanctified—and efforts very much appreciated.
Be sure to join The Clementines this Saturday, June 1, as they release their self-titled debut album at The Brick. They will kick off the show at 9 p.m., playing the album in its entirety. Root and Stem will perform afterwards. Facebook event page.
--Michael Byars
Michael Byars wrote most of this with one hand, as his other arm has gone numb from his editor’s constant punching—but he thinks she’s pretty cool anyway. [Editor's Note: She is. *punch*]
The last time we caught up with Lennon Bone, he was getting ready to embark on Ha Ha Tonka’s first European tour (see our interview with him). Now the group has just come off its second European tour (literally—they just returned to the US today), which has proven to be successful. Ha Ha Tonka has also been busy at work on a follow-up album to its critically-acclaimed 2011 LP Death of A Decade. Read on to find out more about their travels and what they have in the works.
The Deli: Where in Europe have you toured?
Lennon Bone: We started out in Prague, went through Germany, the UK, The Netherlands, Ireland, Norway, and Sweden to go. 6 weeks total.
The Deli: Coolest place you visited?
Bone: Prague and Dresden are the most beautiful places I've ever seen. So old and amazing. The architecture is so spectacular, it's like being in a book or something. Not to mention all the history that you hear about, but becomes so much more apparent when you actually see things like soot on buildings from where they were bombed, or gold placards on the footsteps of doors that show when a Jew was ejected from their apartment building. It's pretty intense stuff.
Hamburg is the most fun city we've been in, I think. We saw the sun rise two days in a row and the people weren't even close to done partying. To list a few of the events we saw take place: a drunk Brit stripped down to his underwear and jumped off his party barge and had to be rescued before he drowned; someone actually died just before the show right next door to the venue we played; we saw a ton of prostitutes next to Burger King; we chased down a guy that stole some girl’s phone, and just had an absolute blast. It was a wild couple of days.
The Deli: What's the most fun venue you've played so far?
Bone: Hmmm.... that's a tough one. The most fun venue would probably have been in London, for me. Great crowd, pretty packed and it was a Tuesday night. Over 100 different bourbons to try. Plus we got fed by some friends that work at a restaurant called River Cafe the night before. To give you an idea of how posh this place is, Elton John is doing a private event there next month and dudes like Bono and Chris Martin frequent the restaurant.
The Deli: How have these European tours changed your perspectives as a band?
Bone: I think it's made us reevaluate our plan as a business. We see the potential in all of these new markets, and have an opportunity to break out somewhere besides the States, which can also help our draw within the States. 7 months ago we were arguing whether or not we would even be able to do a European tour, and now we've spent 3 months there in that time.
As far as our relationships, it helps keep us all positive to do new things. We've toured the States so much in the past 8 years that we recognize gas stations from coast to coast.... it's revitalizing to see new territory and even get lost now and again.
The Deli: What's changed and what have you learned since your first European tour?
Bone: We learned a LOT about how to save money from really screwing up on the last one. Everything from getting cheaper ferry rides to buying water at a grocery store (at a gas station it's 2 euro 60 per small bottle... You can get 8 liters for the same price at a store) and recycling the bottles (Bottles are worth .25 each).
We've seen some markets like London and Ireland grow exponentially, which is great. We had two pre-sold out shows in Ireland. I think they were sold out almost 3 weeks in advance, one of them around 6 weeks out. So, we're seeing that things could go really well if we treat it all correctly.
The Deli: How have crowds responded to the music? Do you plan to go back?
Bone: Crowd reception has been great! Even at the smaller shows, people seem to get rowdy and be really appreciative of us coming over here to play for them. We're already making plans to come back next year.
The Deli: There are a lot of bands that have pipe dreams about going on an overseas tour. What is your best advice to any KC band looking to do this?
Bone: My best advice would be to tour the States relentlessly before going anywhere else. We've been touring nationally for nearly 9 years now, and if we didn't have the knowledge we've learned from being on the road at home, we could have easily lost so much money being in Europe. I mean, we lost some money on the first trip anyway. It's just really expensive to make it happen. Promoters over there actually do their job as well. One of our booking agents is so committed to knowing how things are going that he's jumping in the van with us for a week. That being said, if we didn't have the tour history at home that has also brought us press that they can see, we wouldn't be having this amount of interest here… at least I don't think. If you want to tour and have it be successful, you just have to know how to tour, period. It's much cheaper to get your feet wet in the States before possibly losing your ass overseas. On the other hand, if you just want to take a vacation and play some shows, go ahead and book your tickets. Just like anywhere else, I'm sure you could find some places to play. It's really just about what your goals are.
The Deli: Tell us a bit about the album you're currently working on. What can we expect?
Bone: The album is officially done, and we've never been so excited about something that we've made. It's still totally us, but it's like the Tonka we've always wanted to be, if that makes any sense. It was produced by Dan Molad out of Brooklyn and The Ryantist from here in Kansas City. In my opinion, two of the best producers that nobody's really heard of. Yet. I'm not saying our record is their ticket, I'm just saying that these guys were my personal first pick from day one because they're outstanding at their jobs. We've grown enough as a band that we were ready to really include the producer in the role of constructing and rethinking the songs, and Dan and The Ryantist really helped bring them to life in a way we never expected.
We recorded the bulk of the album in Omaha where they did all the Bright Eyes and Monsters of Folk records. The whole team is basically the same age, and we're used to working with producers that are older than us. For me it really felt like we were the junior high kids trying to show up the high schoolers. We just had all these mics and snare drums and shit everywhere in the room. Double-necked guitars, synths, organs, whatever... and we just had the best time making an album. We went back to recording live, so all the basics are the four of us (or sometimes the producers would just hit record and join us in the room to play other things) playing together. It just feels good to me. I can't wait for people to hear it.
We're planning on a fall release. We’ll take off after this next US tour for a few months and get all the logistics of the new album worked out so we can start a full nationwide tour at the end of September.
There are millions upon millions of songs that celebrate happiness: “I’m in love!” “She said yes!” “It’s a great day to be alive!” All valid emotions to be sure, and hooray for those who get to experience life in those circumstances … but what about when the feelings you’re feeling are along the lines of “It’s cloudy outside” or “Why won’t she talk to me” or “I can’t take this anymore”? These are also valid emotions which deserve musical voice, and in their debut three-track EP Preface, A Light Within delivers on the desire to hear the darker side of the psyche being celebrated in bombastic, beautiful anguish—doing so not only with thunderous power, but with a deft touch as well.
The titles of the three songs are page numbers that reference the concept of the album: the writings of a man reflecting upon his life, from beginning to end. The words, in concert with the music, reveal a life lived in doubt and anguish, as the protagonist struggles to reconcile his time on this planet before the last grain of sand falls through the hourglass. Lyrics such as “These open eyes are closing down / I’m too tired to sleep through life alone / This gallant heart is a fairy tale grown old” (“Page 32”) and “Whoever feels irrelevant has become as one with death to the living / Whoever claims innocent is blinded by a sun that can't be seen” (“Page 18”) offer a window into a soul that is indeed lurking among the shadows rather than relaxing in the warmth of the sun. These are places where many would rather not tread, but we all find ourselves battling our own army of demons at some point in our lives (whether they originate from external sources or are self-inflicted)—and even in the more sinister realm, there is a beauty to be found that may end up saving one’s sanity if one clings to it tightly enough. The beauty of these tracks lies in the arrangements that somehow manage to be musically uplifting and inspiring … even though the words and emotions may not be.
When dealing with the harder, more somber edges of post-rock, the easy path to follow is to overwhelm the listener with volume, both from an instrumental and a vocal standpoint. “We’re angry, we’re pissed, we’re going to bludgeon you over the head with our seismic swagger”. A Light Within knows well enough to rein in this urge when properly called for, but is unafraid to let the reins loose as needed. Preface shows the raw power and melodic maturity of a band that, even though it may be in its infancy, has a lot to say—and, more importantly, knows how to say it for maximum effect.
Here’s to the next chapter that this preface is leading us into.
--Michael Byars
Michael Byars is desperately trying to reunite the legendary 70s Welsh hip-hop band Honey Black Dolphins for his next birthday party. He's also thinking about reinventing himself as a busker in England. They need to know the time and temperature over there too, right?
The Kansas City music community continues to thrive and expand, something The Deli KC is happy to support and report on, and this trend continues to build momentum with each passing year and each new album release. And by no means is this a boys-only club, of course; over the past several years there has been no shortage of great female singers in many genres: Abigail Henderson, Lauren Krum, Alicia Solombrino, Julia Haile, Danielle Schnebelen, and Shay Estes, just to name a half-dozen. These ladies can not only rock the mic—they do so fearlessly and effortlessly, providing a presence that is both captivating and unforgettable, and all are members of bands that bring great things to the stage whenever they’re on. There’s another name and another band vying for a place in your record collections, one that has been working the circuit, playing bars and clubs from Lawrence to Columbia and all points in between, and with the release of their full-length self-titled debut,The Clementines are ready for their well-earned time in the spotlight.
The Clementines started as a duo in 2011 with founding members Nicole Springer and Tim Jenkins each playing acoustic guitars and using their time to hone their singing and songwriting chops. They added the rhythm section of Stephanie Williams and Travis Earnshaw the next year, a move that gave heft and [if I may use a technical term here] oomph to support the power of Springer’s mighty pipes. And while they may have a lead singer whose voice can turn walls into rubble at any given moment, Springer doesn’t simply lean on her internal volume control switch in an effort to overpower her listeners. In The Clementines you’ll hear a great deal of control and command, as the music calls for presentation that runs from pensive to melancholy to victorious to daring to outright sassy. She’s got all the tools, and like any good carpenter or mechanic, she knows which tools to use and when to use them. No song features a delivery that seems out of place, and no mood is falsely presented.
Any band with such a commanding presence at the front runs the risk of being overshadowed by that voice, or of being seen as “hangers-on” who are only along for the ride because of the talent of the lead singer, not because of their own abilities. There is no such worry with The Clementines, as this is truly a band with quality at all positions. Jenkins has adapted and enhanced his guitar playing to accommodate both duo and quartet arrangements; his skills have progressed greatly since I first saw the two-piece version of the band on the recordBar stage a couple years ago. Earnshaw lends a stalwart bass presence, never pushing his way into the spotlight, but never fully conceding to the twin-mostly-acoustic-guitar sounds which he augments in fine fashion. His ability to set a warm, comfortable foundation to the proceedings is crucial to the cohesiveness of the music. And Williams is simply described in the band’s bio as “bad-ass drummer”; that’s about as spot-on as it gets. The Clementines features a wide array of genres and influences—rock, soul, jazz, Americana, gospel, blues—and their rhythmic timekeeper doesn’t miss a beat (literally and figuratively) throughout, keeping lock-step with her bandmates at every turn. If playing music with such a dominant frontwoman is a challenge, then Jenkins, Earnshaw, and Williams are more than up to the task throughout the album’s fourteen-track playlist.
A few CliffsNotes-sized looks at some of those tracks:
“Rough Times” – The first single released by the band; Americana-rock sounds with an underlying jazz snarl. To say that acoustic bands can’t groove is ridiculous, and this track serves as Exhibit A of that argument.
“Soul, Mind, Role, Survive” – The one electrified song on the album, with an added punch that gives it a ‘90s alt-rock vibe. A great change of pace.
“Could Have Been” – A menacing slice of backwoods swamp-pop swathed in Southern-fried goodness. Undeniably catchy and hooky.
“Say” – The most intricate playing by all four members, showing off the instrumental skill sets that make this band a quadruple threat.
“Responsibility” – This may be my favorite track on the album; Springer’s delivery goes from delicately soft to passionately earnest without breaking stride.
“Sightless” – Acoustic rock doesn’t get any better than this, pure and simple. Maybe *this* is my favorite track?
“Should I” – A delicate arrangement that made me think Western madrigal, which I can’t explain but it just sounds like it fits. If you’re a fan of Calexico (and you should be), this is a track for you.
“Moved” – A textbook closing track musically and one of the most lyrically powerful, an expression of longing and love lost; a very courageous move on the part of the band to close with a song that does not offer the listener the prototypical “happily ever after” ending. Okay, THIS might be my favorite track.
We all like to see friends and neighbors succeed, and when they’re willing to bust their asses to make good things happen for themselves, it’s all the more rewarding. Bands like Making Movies, She's A Keeper, and The Latenight Callers are proof that constant work, abundant publicity, and outright ability will get your music heard. The Clementines fit that bill, with an increasing number of shows over the past few months which have led to their self-titled album being a reality—and a reality which you should tune in to. As Springer sings in “Bayou”, the album’s opening track: “I leave it up to you when we're at the bayou / to renew my existence, to sanctify my consciousness.”
Existence renewed, consciousness sanctified—and efforts very much appreciated.
