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The Deli KC's Best of 2015

Michelle Bacon, editor
 
Albums:
You probably won’t get a chance to see Madisen and Ruth Ward perform in a small room anytime soon, but if you’ve had the privilege to do so, you know how special it is. Sharp songwriting accompanies the intimacy, warmth, and the sheer velocity of their voices, all of which shine on the duo’s debut LP with Glassnote Records.
 
2. The Grisly Hand - Flesh & Gold
Since its acclaimed LP Country Singles came out in 2013, fans have been chomping at the bit for another collection of songs from The Grisly Hand. Flesh & Gold showcases a band that is fully realizing its natural chemistry—the compositions reach new heights on this album, with musicians that play to their strengths, in all the right places.
 
3. Bloodbirds - MXVIII
Aggressive, dark, psychedelic sounds make up the aural landscape of Bloodbirds’ latest effort, an impressive full-length from an authoritative power trio. These songs are intense and emotional, but laden with enough hooks and punch to keep the listener yearning for more.
 
4. Mat Shoare - Right As Rain
Whether he’s delivering a subtle lyric over a somnolent keyboard tone or an angsty vitriol over an edgy guitar riff, Mat Shoare is pulling us into his world with each track on Right As Rain. Shoare has a knack for creating classic pop hooks, finding instrumentation that suits each mood, and pulling off introspective lyrics with an unmistakable sincerity.
 
5. Major Games - Major Games
Major Games’ self-titled release is one of the richest and most sonically dense offerings of 2015. It soars above the conventions of shoegaze, psychedelic, and noise rock, with sweeping dynamic shifts and intriguing swells of sound.
 
6. HMPH! - Headrush
The debut LP from HMPH! is one of the most masterful examples of musicianship on any KC release in recent history. This instrumental math rock/jazz fusion album is built on angular guitar riffs and rhythmic countermelodies from two musicians who know their craft and challenge it in an interesting, entertaining set of songs.
 
7. Thunderclaps - Cookin Up A Good Time (EP)
This guitar-and-drums duo stands out with 3 short tracks that remind us of the classic backbone of rock ‘n roll with a modern vigor. Thunderclaps’ debut EP is well worth a mere 9 minutes of your time; and if you aren’t shaking your hips by the end of it, you weren’t paying enough attention.
 
8. Mikal Shapiro - The Musical
Mikal Shapiro is no stranger to the KC music scene, having lent her talents to several projects, but The Musical is her first full-length in 5 years. With her core band of musical masterminds, Shapiro has assembled one of the year’s strongest efforts. She blends pop, jazz, folk, and blues to create something far more hip.
 
9. Berwanger - Demonios (EP)
Josh Berwanger knows how to write a great pop gem, and make it rock. With elements of power pop, glam rock, psych, and sugary ‘60s pop, there’s something in a Berwanger song that can appeal to anybody. His latest release, on High Dive Records, will take you on an astral journey while you’re simultaneously banging your head.
 
10. She’s A Keeper - Westside Royal (EP)
Westside Royal signifies a fresh new musical direction for She’s A Keeper, a band that has grown into its sound in the best possible way. This 5-track EP is full of infectious grooves coupled with warm vocal melodies, making for a solid indie pop record.
 
Singles:
1. Admiral of the Red - “Footbeats” (1.5.15)
2. The Conquerors - “I Don’t Know” (8.11.15 High Dive Records)
3. Claire and the Classical Revolution - “Enough” (12.12.15)
4. Bonzo Madrid - “Balance” (8.10.15)
5. Spirit is the Spirit - “Televangelist” (4.13.15 The Record Machine)
6. The Uncouth - “KC United” (5.15.15 Too Much Rock)
7. Yes You Are - “World Without End” (6.1.15)
8. Katy Guillen and the Girls - “If You Were Gone” (11/24/15)
9. Mat Shoare - “One of My Songs” (11.6.15)
10. The Good Hearts - “Bad Production” (12.8.15)  
 
Shows:
3. Glen Hansard at Uptown Theater, 11.17.15
4. Diane Coffee and Of Montreal at recordBar, 10.27.15
5. Madisen Ward and the Mama Bear at recordBar, 12.22.15
6. Heartless Bastards and Craig Finn at recordBar, 7.1.15
8. Jason Isbell and Rayland Baxter at Uptown Theater, 12.9.15
10. Shiner and The String and Return at recordBar, 7.17.15
 
Moments:
Unless you have a heart condition or are prone to seizures, you should experience Peelander-Z at least once. It is less recommended to go on stage with them and try to play their bass when they just want you to do calisthenics.
 
Madisen Ward and the Mama Bear at Good Danny’s in Austin, TX, 3.18.15
It turns out that the best respite from the chaos of SXSW was a beautiful midday serenade in a comfy, air-conditioned house. Here, a lucky roomful of 15-20 people got a chance to see the Wards tape their Daytrotter session.
 
Spoon at The Continental Club in Austin, TX, 3.22.15
Alejandro Escovedo is a pioneer of Austin’s music scene, and held his last post-SXSW party, with Spoon as the secret guest. Seeing one of my favorite bands in a 300-cap room with dozens of other influential Austin musicians and natives was a special treat.
 
GAV7D, Katy Guillen and the Girls, and Chris Meck and the Guilty Birds at recordBar, 10.23.15
Late October and early November were arguably the most stressful months in Kansas City history. Game 6 of the ALCS was another nail-biter, plagued by a rain delay. Meanwhile, Chris Meck and the Guilty Birds opened up a show at recordBar, with a crowd that was waiting on pins and needles to celebrate, erupting in a Royal triumph at the last few notes of our set. The festivities continued with a red-hot set from Katy Guillen and the Girls, and a delightful denouement from Johnny Hamil’s GAV7D project.
 
The Philistines at Maria’s Taco Xpress in Austin, TX, 3.21.15
More famously known as the day Bill Murray saw my band play and offered me a bite of his food.
 
Zach Hodson (Dolls on Fire)
 
My 10 favorite Kansas City or ties-to-Kansas-City recordings of 2015(in no particular ranking or order):
The Electric Lungs - Don’t Be Ashamed of the Way You Were Made
The Electric Lungs’ sophomore full-length does not disappoint. Complete with a bombastic rhythm section, emphatic vocal performances, and just the right amount of synthy icing, this pop rock/punk quartet continues to put out some of the best high-energy rock music in town these days.
 
The Grisly Hand - Flesh & Gold
Whereas this album didn’t originally catch me near as much as their 2013 release Country Singles (which I consider to be one of my favorite KC releases of all time), Flesh & Gold falls more in the sneaky good category. The usual hallmarks of The Grisly Hand sound are certainly present throughout, but they continue to show a maturation and evolution of sound, allowing the sonic spectrum to freelance into other genres a bit more.  
 
Madisen Ward and the Mama Bear - Skeleton Crew
Yeah. It’s damn good, just a fantastic sonic experience from beginning to end. Everything is spot-on: the songs, the unique vocal stylings, the tasteful flares of accompanying instrumentation, the production value. Whereas roots music can often fall prey to overproduction, this breakthrough record from the Kansas City based son-mom duo shows the true power of knowing which levers to pull and which to leave the hell alone.
 
Christian Hankel - Silver (Music from the Noir Ballet)
No one can ever call out Christian Hankel for being unambitious. Over the years, he has treated Kansas City with over-the-top art projects while others stay slaves to what is trendy. Silver is just the latest example of this. Featuring a who’s who of Kansas City players, this soundtrack to a modern retelling of The Odyssey via an 8-piece jazz ensemble is a well-composed and dynamic slice of mid-20th century jazz dolled up with just enough modern influence.
 
The Bad Ideas - Leave Me Alone
And now for something completely different. Eleven scuzzy, socially-conscious, punk-as-fuck brain-beating tracks that somehow keep some identity from each other during the onslaught. This full-length tape captures the live energy for which The Bad Ideas have become known.
 
Sterling Witt - Satyagraha
Another Kansas City area artist with a strict devotion to the art above all else, Sterling Witt’s recent release is a thick and icky ride recorded by Steve Albini (and yes, it certainly sounds like it was). I’ve seen Sterling perform in just about every way possible over the years (and probably still have some baby powder, glitter, or a paper airplane laying around to prove it). This grungy batch of alternative tunes is certainly less folk than I remember him at times, but still has the same earworms, sharp songwriting, and sly lyric play that I’ve come to very much enjoy of his work.
 
The Hillbenders - Tommy: A Bluegrass Odyssey
Whereas the Hillbenders in general are not “from” Kansas City, this record has plenty of ties to our neck of the woods that make it applicable here. It is an ambitious thing. Take one of the most beloved rock operas of all time, a record laden with synthesizers, squealing guitars, and one of the most adventurous drummers in rock n’ roll history. Now, reproduce it with traditional bluegrass instruments. And, oh yeah, no drums and no keyboards.
Somehow, The Hillbenders not only pull it off, but really push the material beyond its original limits in many ways. By creatively channeling the constraints of their instrumentation into ridiculously well-put-together orchestrations, the listener is never found wanting for the missing elements. It is beautifully new and familiar all at the same time.
 
Sundiver - Caravelle and Discoverer
Proving that verdant noise rock is still very much alive and relevant, Sundiver dropped a fantastic duo of songs this year with Caravelle and Discoverer. Call it post-hardcore, call it shoegaze, call it even a bit math rock at times, the pair of songs repeatedly build and crash, powdering the listener with something equally galvanic and celestial. Dreamy, driving, provoking soundscapes.
 
The Sluts - The Sluts
The modern war against the bass guitar (or perhaps better said, against those that typically play the bass guitar [yeah, I said it. Deal with it, bass players]) continues with this Lawrence two-piece. The Sluts’ debut LP suffers not from the four-string exclusion. The guitars rumble with lush distortion, the drums pound, the vocals screech through the wooly mix. Just enough smart songwriting keeps this from being an 11-song one-trick pony. It is a ride worth taking time and time again.
 
Mikal Shapiro - The Musical
Jazz, blues, Americana, country, good old rock ‘n roll: it’s all here. Being Shapiro’s first full-length release since 2010, she really sheds some skin with this batch of gracefully arranged songs. Every effort is a new adventure, kept on the like tracks by her silky, often doubled and harmonized vocals. The all-star Core Four (amongst other guest musicians) utilized throughout elevates her material to a new place.
 
Brad Scott (The Clementines)
 
Albums:
1. The Grisly Hand - Flesh & Gold
2. Mikal Shapiro - The Musical
3. Paper Buffalo - White on White (EP)
4. The AM Trio - As of Now
5. The Old No. 5s - Steam
 
Tracks:
1. The Grisly Hand - “Regina” (from Flesh & Gold)
2. Paper Buffalo - “The Archive” (from White on White)
3. Hembree - “Can't Run Forever”
4. Mikal Shapiro - “Daniel” (from The Musical)
5. The Old No. 5s - “Barn Party” (from Steam)
 
 
Albums, in no particular order:
The Electric Lungs - Don’t be Ashamed of the Way You Were Made
Definitely a punk rock album that brings me back to my high school years.  I wish I had this album to help me through those wonder years.
 
Madisen Ward and the Mama Bear - Skeleton Crew
This is such a warm album to listen to.  I always picture myself outside by a creek on a summer afternoon as I contemplate about life.  
 
Jessica Paige - Sweet Nothings
Imagine yourself laying down on a wooden floor of your living room with your significant other on a cool autumn morning.  It helps you make you appreciate every single bit of life, good and bad.
 
The Clementines - “The Journey Begins” (single)
The single is very raw and straight to the point. You can hear raw emotion and heart from a band that can tug at your heart.
 
This album definitely captures the energy of their live performance. I always blare it in my car, headbanging on my way to work.
 
From all of us at The Deli KC, thank you for your support in 2015, and here's to more great music in 2016!

 

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Album review: Major Games - Major Games

From the retro ‘60s psychedelic album art to their wall of sound performances, listening to Major Games’ self-titled album feels like visiting a sonic circus. Released in the spring of this year, the first full-length album of the Lawrence-based band arrives 4 years after their 2011 EP (EP1, which was just re-released on cassette by This Ain’t Heaven Recording Concern), and each one of the eight new tracks is indisputably worth the wait. Those who have been enjoying their earlier release will not be disappointed—in fact, any fan of noise, shoegaze, or psychedelic will be excited to hear what Major Games has been up to, as will those interested in an introduction to the genre. Their previous five-track EP laid the foundation for Major Games’ seemingly effortless song construction and gritty sound. This new, self-titled album harnesses everything great about those songs and amplifies it into one cohesive Major Games experience: a larger-than-life rollercoaster of noise.
 
Major Games is made up of Jeremy Sidener on bass and vocals, Doug McKinney on guitar and vocals, and Steve Squire on drums. What immediately stands out on the album is the band’s ability to make a wall of noise sound elegant and cohesive—if you have any doubt, check out the first 50 seconds of “BDBDBD.” Although a solid addition to your road trip playlist, this music is made for hitting play, leaning back, closing your eyes, and soaking up the sound. Sidener’s vocals soar through each track, weaving in and out between layers of instrumental sound with impressive control and range. Lyrically, Major Games comes across introspective, however lyrics take a backseat to the sheer power of the instruments themselves. “Other Location” makes an impact alternating between lightly echoing guitar, and harder, droning noise, creating an unpredictable and layered quality that saturates through the whole album. Other favorite tracks include “Risk,” which will most likely get a crowd dancing, and “Burner,” featuring an unrelenting rolling bass and elaborate guitar work.
 
Despite its brilliant raw sound, the entire album manages to maintain a quality of precision and clarity. Producer Jim Vollentine, who recorded the album with the band at Black Lodge Recording Studio in Eudora, KS, deserves credit for capturing the force of Major Games' arrangements. Vollentine’s career includes production and technical work with bands like Spoon and White Rabbits. This album demonstrates serious confidence in their craft and inspired musicianship with no hesitations about breaking the mold. Major Games doesn’t sound like the band is coasting or playing it safe. Their album is a major achievement.
 
 
Major Games will make their next appearance on Halloween night at Replay Lounge in Lawrence, with BaioWolf, Young Bull, and Gnarly Davidson. Show starts at 9:00 p.m. Facebook event page.
 
 
--Mary Kennedy

Mary Kennedy is a lifelong Bostonian learning her way around Kansas City. She can often be found in an art museum, checking out local music, or taking a nap. 

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Lawrence Field Day Fest bridges KC and Lawrence music communities

(pictured above: Oils / all photos and videos by Michelle Bacon)
 
Spanning over three evenings with 28 acts, the third annual Lawrence Field Day Fest proved to be a large success. From Thursday through Saturday nights, some of KC and Lawrence’s most notable acts converged upon the town and brought with them a score of talent and style.
 
 
For this reviewer, LFDF kicked off on Friday evening at Jackpot Music Hall in the middle of Katy Guillen & the Girls’ explosive set. The KC trio had the full attention of a trickling-in crowd, most of whom had never seen them before and all of whom raved over them after. Once you experience one of Katy Guillen’s searing guitar solos—impelled by her tenacious rhythm section—you’re never really the same again.
 
 
Immediately following KG&G was Destroy Nate Allen. As the duo began to do a sound check while walking about the room, I realized that this would probably be nothing like what had preceded it or what would follow at any point during the fest. The husband/wife team of Nate and Tessa Allen has a delightfully unusual punk folk style, characterized and enhanced by an unconventional, interactive live show.
 
The rest of the weekend was a somewhat similar story, where festivalgoers—myself included—were getting to experience bands for the very first time. The lineup dropped a portion of the KC music scene in a setting they aren’t as saturated in, allowing an initial exposure to many Lawrence music fans. In that same vein, the KC faction was also able to see performers who don’t travel east very often.

“Last year, I was burdening myself with the task of finding national acts because I thought that would help the draw,” says festival organizer Cameron Hawk. “I was worrying about stuff like that, and I think it made me forget that not only do we have a huge crop of amazing bands around here, but they are bands people care about. We are so lucky to have that.” So this year, Hawk took the approach of building a solid lineup from both sides of the state line, and was able to draw in fans from the two music communities and parts in between.
 
 
Other highlights included Major Games’ highly anticipated set on Friday at The Bottleneck. Emerging from a nearly two-year live show hiatus, the trio played its upcoming album in its entirety and presented an even bigger, fresher, more passionate sound than before. Following them was Loose Park, a pure rock ‘n roll band who manages to somehow become even more electrifying and fun with each passing performance.
 
 
The Sluts closed down The Jackpot on Friday night to an enthused, riotous audience. The duo of Ryan Wise and Kristoffer Dover has a steady following in both KC and Lawrence, and was able to prove exactly why with Friday’s performance. They have a stripped-down, DIY garage rock/punk sensibility, with just enough hooks to grab almost anyone who could possibly be entertained by the thought of live music. Wise’s newly added vocal effects also brought more depth and grunge to their songs.
 
 
Saturday night marked Pale Hearts’ final performance, as frontman Rob Gillaspie (also currently doubling as Lux Interior in The Cramps’ tribute band Stay Sick) prepares to move to KC. The always enigmatic performer led his band through its dark, poppy, ‘80s-influenced catalog. We hope to see more music come out of Gillaspie, perhaps in future collaborations with KC artists.
 
 
 
At Jackpot, CS Luxem entertained and captivated a new audience, showcasing Christopher Luxem’s talented songwriting both as a solo act and realized as a full band. Meanwhile—and with the help of Jar Jar Binks—Josh Berwanger and his band got the Bottleneck crowd on its feet.
 
 
Like other frontmen I was able to catch on that stage (Gillaspie, Matthew Dunehoo of Loose Park), Berwanger can capture an audience and keep it engaged—a feat many lead vocalists haven’t quite figured out yet. His obvious charm, coupled with the group’s grooving power pop anthems, warmed the audience up for Cowboy Indian Bear.
 
 
Cowboy recently announced that it would take a hiatus after LFDF, resulting in a lengthy, heartfelt, double-encore show. The band played several songs off its acclaimed 2013 album Live Old, Die Young, and delivered a touching but fervent performance—one of the most dynamic, gargantuan performances I have personally witnessed from them.
 
 
And closing down LFDF was Stiff Middle Fingers, who wins the award for Most Spirited Audience of the fest. In true form, frontman Travis Arey riled up the crowd, inciting friendly mosh pits and audience members storming the stage.
 
 
The exuberant crowd chanted and shouted right along with Arey, also showing its gratitude for guitarist/fest curator Hawk. The group’s straight-up don’t-give-a-fuck punk style was the perfect environment to congregate in for LFDF’s swan song. The KC and Lawrence music communities let loose together, shouting “I ain’t no goddamn son of a bitch” as SMF busted out a Misfits cover, and locked in sweaty embraces to celebrate a job well done.
 
--Michelle Bacon
 
Michelle is editor of The Deli KC. She is in bands. She is the only person in the world not watching the World Cup right now and is sorry for that.
   

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