Artist of the Month

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October 2015
The Grisly Hand
"Flesh and Gold
Few Kansas City bands have been not only respected but embraced by critics, fans, and fellow musicians of many genres the way The Grisly Hand has over the past few years. Formed in 2009, the band released the album Safe House in 2010, Western Ave. EP in 2012, and then followed those with the stellar and regionally successful Country Singles in 2013. The latter cemented The Grisly Hand’s position as one of the best acts in Kansas City, and probably should have launched them onto a national stage.
There may be just one slight problem—they don’t exactly fit the mold of any one genre. Typically billed as Americana, the band’s first three releases were undeniably country music. Not the contemporary crap you avoid at all costs on your radio dial, but more traditional twang, with perfectly harmonized vocals, pedal steel guitar, mandolin, a potent walking bass, and shuffling beats. It’s not cry-in-your-beer country, but mainly up-tempo tunes that—like a lot of old-school southern music—contain elements of rock, soul, and pop. Music that, despite its wide local appeal, is not exactly sought after by major record labels.
The Grisly Hand’s latest offering, Flesh and Gold, is a different direction for the group. There is an obvious attempt to lessen the country feel by moving to a more straightforward rock ‘n roll sound than present on previous albums. There’s a bit less twanging and a little more banging, but the songs are still well-crafted. Lead vocalists Jimmy Fitzner and Lauren Krum (Ben Summers takes the mic on the third track, “Regina”) harmonize like two people who have spent their entire lives singing together. The musicianship of Fitzner and Summers (guitar and guitar/mandolin, respectively), along with Mike Stover (pedal steel/bass), Dan Loftus (bass/keys), and Matt Richey (drums) continues to be top-notch.
Flesh and Gold opens with the familiar, beautiful ring of Fitzner and Krum, singing in front of a lone electric guitar on “Get in Line, Stranger.” The rest of the band soon kicks in, and the song proceeds to become what the majority of the album is—a very solid collection of catchy, mid-tempo, alt-country tunes; some of which could be accused of leaning towards (gasp) pop rock.
Possibly the most enjoyable cut on the album is the no-nonsense, driving rock song, “Regina.” Summers’ vocals, though not quite as refined as Fitzner’s, are laced with passion as he sings about the insecurities and immaturity of youth. “You probably don’t want to follow me down, because I’m a fucked up kid without a plan / Shows me why you do the things you can.” The track is vibrant and pulsating—Krum’s backing vocals give Summers’ voice some added depth, and Stover’s killer steel guitar solo supplies just enough southern touch. This could be a very radio-friendly song.
Some risks are taken by tackling a couple of heavy topics. “Brand New Bruise,” a ballad turned barroom blues rocker, is about a woman with an abusive partner. I was prepared for a clichéd country triumph about a gritty woman teaching her old man a lesson. Instead, the song reveals a sad dose of reality; a worn woman who doesn’t know where to turn. “You can say you’re sorry again, you can bury me down in the ground / Just know whichever way you choose…either way I lose.” “Satan Ain’t Real” is perhaps a jab at Christianity and the guilt it causes, or maybe just a way of telling people not to be too hard on themselves or each other. “Satan ain’t real, it’s just what we blame when we can’t explain why fellow men hurt us like they do, without remorse / Just know it’s all in your head, and it ain’t ever too late for you to break away.” The song is also one of the more intriguing numbers musically. Somewhere between a Bossa nova and a Cajun ditty, the relaxing groove, filled with mandolin and steel guitar, implores the listener to set their troubles aside.
“Regrets on Parting,” the record’s final track, is by far the most surprising. It is a soul song at heart, and could be mistaken for something coming out of Memphis in the ‘60s. Fitzner and Krum’s harmonizing is at its best here. The real surprise is the addition of a horn section comprised of Nick Howell (trumpet), Mike Walker (trombone), and Rich Wheeler (saxophone). It’s a fantastic, if completely unexpected, song. Maybe it’s no accident that this is the last song, as it could be foreshadowing of things to come on future recordings. (Editor’s note: Flesh & Gold is the first part of a double album that is slated for in early 2016)
Flesh and Gold is a very good standalone album. There isn’t a single song that isn’t thought out and dialed-in, as any fan would expect. Had I never heard any of the The Grisly Hand’s previous work, I would go as far as to call this output great. However, I know what the band is capable of, and couldn’t help longing for a few of the things that made Country Singles so special. For example: the dialogue between Fitzner and Krum on “(If You’re Leavin’) Take the Trash Out [When You Go],” the infectious energy of “If You Say So,” or the moving beauty of “Coup de Coeur.” Despite this, I understand the need for change, applaud the band for moving outside of their comfort zone, and feel extremely confident about the future of The Grisly Hand.

--Brad Scott  

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Album review: Gentleman Savage - Open Eyes (EP)

Album review: Gentleman Savage - Open Eyes (EP)

I always enjoy hearing new bands that fully understand their influences, but don’t crutch on them. True musicians don’t simply regurgitate what the greats of old have done—they nod their caps to their predecessors and then find a way to push the musical bar higher and higher. Gentleman Savage has figured that out. Its brand of bubbly, '60s-infused synth pop is a dynamic and powerful melting pot of old and new.
"Overlord": Two minutes and fifty-eight seconds of high-energy, guitar-driven pop. The song works itself up to a fever pitch in the middle through the playful interplay of a well-written, breakdown bridge. Followed by the closest thing to a "face-melting” guitar solo you can get in this style of music, the song ends by trailing off over the chorus. Definitely a solid opening track. I imagine it as straight off the soundtrack of the long overdue made-for-TV movie version of The Wonder Years.
"Open Eyes": This is my favorite song on the EP, as I am a sucker for the “chug” punk beat. It sounds like The Animals stumbling their way onto Oasis’s tour bus, only to quickly realize that they needn’t stay too long. Again, it features a great late song breakdown, with harmonized falsetto vocals leading the listener by his willing hand back into the final chorus. The vocals are a clear focus and strength of this band and they are used to greatest effect on this track.
"Death in the Springtime": The most “psychedelic” of the bunch, it’s also the hardest for me to put my finger on. The beginning immediately brings to mind the droning indie styles of Bat for Lashes or Feist. The stripped-down emotional choruses take me to nervously slow dancing in the high school gymnasium (well, at least how John Hughes would explain what dancing in a high school gym would sound like). But just when I accept my Simple Minds fate, Gentleman Savage once again picks up the intensity through a series of distorted strains. The effort bellows with a full head of dissonant steam until the falsetto harmony vocals once again emerge and offer a serene bridge of sunlight back down out of the clouds and all the way to the last satisfying chord.
The best part of this EP? It leaves you wanting more. It is a solid release worthy of many thorough listens. The music of Gentleman Savage comes out like Gemini Revolution, The Quivers, and Thee Water MoccaSins all wrapped up in one vintage psychedelic pop blanket (which, by the way, these four bands on a bill would be spectacular. Someone make that show happen. Do it. Do it now.).
Catch Gentleman Savage on November 9 at Czar with Molehill, The Future Kings, and Little Rosco (Facebook event here). And be sure to pick up a copy of Open Eyes, which is now available.

--Zach Hodson

Zach Hodson is a monster. He once stole a grilled cheese sandwich from a 4-year-old girl at her birthday party. He will only juggle if you pay him. I hear he punched Slimer right in his fat, green face. He knows the secrets to free energy, but refuses to release them until "Saved by the Bell: Fortysomethings" begins production.

He is also in Dolls on Fire and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects.

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