I’ve written of new blood KC powerpop trio Deco Auto twice previously, both of which were live performance reviews. After over a year of toiling about town, the group finally made it into the studio to record some songs for an upcoming album. Only “Such a Bother” has been mastered so far, and you can stream it below. Their full range of sound and influences don’t fully shine on this one, but that’s in no way a dig to the band or the mastering job, it only whets the appetite for those to come. The rest will be mastered by Pat Tomek (The Rainmakers, Howard Iceberg and the Titanics) and will likely be heard sometime later this spring. Catch the band with Molly Picture Club on March 31st at a free Middle Of The Map pre-show hosted by the 39th Street Vinyl Renaissance.
Entering the RecordBar around 10:00 last Friday, one could not walk through the narrows without rubbing shoulders amid those throughout. The venue was particularly crowded for an all-local lineup, though as the night raged on, the audience noticeably waned from a college-aged demographic to a weekend warrior vibe. As though it were filled with drunken Cinderellas, the place all but cleared by midnight, save for some table or booth clusters and a pack of patrons standing near the patio door.The night opened at 10:05, as The Sawyers launched into a 40 minute set of No Depression alt-country lifted from the altar of Tweedy and Farrar, with some elements of honky-tonk thrown in for good measure. The band is led by local songwriter John Greiner, and is backed by Chad Rex on guitar. Rex fronts The Victorstands and previously played in Colorado’s own No Depression purveyors Armchair Martian with St. Joseph, MO, natives Jon Snodgrass and Steven Garcia, the latter of whom now plays in KC powerpop trio Deco Auto. Betse Ellis of The Wilders played the fiddle at stage right, and Chris Wagner (most recently of punk trio Hipshot Killer) filled in for the group’s recently departed bassist. Jonathan Kraft, a sound engineer who has spent time with SSION, and in another life, played with Florida screamo band Kite Flying Society served as the drummer. That was a mouthful, but I thought it necessary to document how varied the backgrounds are of the five members that shared the stage.
Over the duration of the band’s time on stage there was very little audience interaction. I don’t require a story when watching a band play live — and there are many artists that don’t really know when to shut up and play — but at the close, I was left wondering if there exists a tangible album that could be purchased, and remained without answer as nothing of the kind was mentioned.
Author note: I’d like to apologize to those reading this as a casual music follower. What you are about to see in the next two paragraphs is nothing short of conspiratorial six degrees of Kevin Bacon nerding out. If you can’t keep up, feel free to skip through it. I won’t take offense.
John Velghe (née Evans, as the man took his matrilineal surname for the stage to stand apart from the other musically inclined Evans’ in the area, of which there are apparently many) was joined on stage by the full-band form of The Prodigal Sons. Tonight, this included Mike Alexander, who as of this writing plays punk with Hipshot Killer, country with Starhaven Rounders, and Irish rock with Blarney Stoned. Alexander has done everything short of playing the part of Neil Schon in a Journey tribute band. Wait, what’s that? Oh, he has totally done that as well, and will undoubtedly be forming a new band by the time you finish reading this sentence. Chris Wagner pulled a double shift on bass, and in addition to playing with Alexander in a band now mentioned twice (not to mention the Revolvers), provided the rhythm section for Velghe in The Mendoza Lie, a post-Famous FM/Saint Jude band that had a backbone provided by Dan Dumit, who is still billed as a drummer for the Sons, though he did not make an appearance on this night. “Go-Go Ray” Pollard sat behind the kit, and is a nationally recognized performer who has served as the touring drummer for a few major label bands which, if mentioned, would sully the anticipation that you as a reader have surely built about this lineup.
But wait, there’s more. On trombone was Mike Walker, who played in the well-received, though tragically defunct Olympic Size (with Wade Williamson and Kirsten Paludan, both of whom play in Alexander’s Starhaven Rounders) as well as The Maytags, a “neo-dub explosion” led by Zach Phillips of the Architects and The Gadjits, of which Alexander was also a part for some time. On saxophone was the illustrious Sam Hughes, also seen as part of the seven-piece horn ensemble in Afrobeat jazz sensation Hearts of Darkness. Additionally, Hughes was in good company with Walker as a five-piece horn section on the most recent release by The Hearers, a country-spanning membership whose horn section can also be seen in various pairings in the jumpin’ and swingin’ Grand Marquis, roots reggae group The New Riddim, soul revival band The Good Foot, and almost any other act in town requiring some brass. Last, but certainly not least was the talented Hermon Mehari on trumpet, who moonlights in the Diverse trio, playing compositions that pay homage to the 18th & Vine sound that put Kansas City on the proverbial jazz map long ago.
Whew. Now that I have that out of the way, let us continue with the live performance. The band played an hour-long set that alternated from the full lineup that I made a passing reference to above, to an electric four-piece with the addition of Betse Ellis lending her fiddle and vocals. I spoke with Velghe briefly before they began hauling their gear up on stage, at which point he acknowledged his twenty year musical crush on Ms. Ellis, so for her to contribute those talents to a few songs (“Assume the Ground”) from his upcoming full-length, Don’t Let Me Stay (to be released on Lakeshore Records, the label that brought us The Belles‘ Omertà), must be a thrill. The set meandered very little from a full-bodied country-tinged Americana rock with strong horn presence (“Blood Line”), but the instrument changes were plenty.
Acoustic guitars and mandolins replaced electric Telecasters and hollow-bodies for portions of the set (“Stage Inside the Main”), and near the end, the full band took the stage once again for what Velghe referred to as a part of the set in which they will be playing some songs in the key of Paul. Following this, he plucked the opening notes to The Replacements’ “Can’t Hardly Wait,” which they played at the Sonic Spectrum tribute series for the ‘Mats at the same venue nearly a year ago. The lone song that saw Velghe without a guitar around his shoulder was a set closer of The Jam’s “Town Called Malice,” which brought a little less excitement from the crowd than one would think, but it was a fitting end to a very energetic, if instrumentally attention deficit set.
Whether by choice or by chance, the lineup thus far had built up to a swelling climax that could have potentially come crashing down if someone closed the night and was not prepared to hand the crowd their asses on a plate of rock (don’t let that imagery slip past you). Lucky for the audience, Katy Guillen (of The B’Dinas) took the stage and dished out a three-course meal of ass (already regretting that metaphor) and Go-Go Ray was there to serve as the second musician of the night to pull in some overtime. Taking a look at the two of them on stage, an obvious reaction would be to assume you are about to hear something of the White Stripes or Black Keys variety, both two-piece bands who built their reputation out of playing stripped-down blues rock in their own, weird ways. Well, you would have been wrong to assume that, and should be ashamed of yourself.
The reality is that the assumption is not a complete fallacy, but the sheer force with which Katy and Go-Go exerted sound as a two-piece, with Ray given the chance to show off on extended drum fills, and Guillen slinging out fast-paced blues riffs while the two kept in perfect stride with one another was something impressive. The two jammed a full 45 minutes until the house lights came up and the bar was ready to start kicking people out into the cold, and then they played one more song even after that. The two-piece is expected to release an album in late March, and a new one from Guillen’s full rock band is due out in the near future as well.
Saturday night at the RecordBar one could find a motley crew of Kansas City music lovers, listeners, and performers. It was not just another bill of local bands on this night, but a celebration honoring local radio personality Michael Byars’ 50th birthday. Byars, an announcer and coordinator for NPR satellite station KCUR, also runs local music podcast The Mailbox, with frequent contributor and music guru Chris Haghirian. The guest of honor seemed to be in good company, as the whole of the venue was filled with people in high spirits, laughing, drinking and cavorting about between bands, and Byars was rarely spotted without a drink in hand. A testament to the man’s dedication and influence, he received toast after toast from those that took the stage before and during performances.
Deco Auto began their set shortly before 10:00 and played an all too short 30 minute set of sugary sweet power-pop. The trio has only been performing together for about a year and have yet to even record a demo, but they have already built a steady reputation on a foundation of well-written hooks by guitarist/vocalist Steven Garcia. When I caught up with Garcia afterward, he admitted that he was raised on the timeless anthems of the Ramones, so he plays pop because it is what he knows. After seeing the band once previously shortly after forming, the rhythm section of Tracy Flowers and Michelle Bacon have become a tightly meshed companion with Garcia, playing a rigid melodic punk that is at once brand new and recalls the best eras of pop music that relied on simple harmonies and nothing more.
American Catastrophe, for lack of a better description, are the only thing imaginable when one is asked to picture Nick Cave playing apocalyptic country. In their 40 minute set, the band displayed a range of depth and gloom greater than many in our city these days, and seated front man Shaun Hamontree bellows into his old broadcast microphone with a force that can take an entire room’s attention in mere seconds. Hamontree has been playing Great Depression influenced Gothic Americana with multi-instrumentalist Terrence Moore since the experimental late ’90s band The Black Water, and their fusion of talents has only grown in the last decade. Add to that the bass work of eclectic musician (and host for the night) Amy Farrand and the sound becomes a booming timbre and an aural experience one must encounter first hand.
Local legends the Pedaljets began shortly before midnight and played a set largely made up of new songs. This is good news, as the band’s last release came out in 1989. Whether they like it or not, the Pedaljets are a part of regional music history, infamously destructing in the midst of being courted by a few larger labels of the day. In the early-mid ’90s, singer/guitarist Mike Allmayer found respite with drummer Rob Morrow in the MCA-released Grither, and the Pedaljets’ self-titled sophomore release and ultimate swan song had new life breathed into it in 2007 when it was re-mixed and re-issued. Rumors have been aplenty in recent months concerning if and when a new album will see the light of day, but as yet there is no definitive answer. In any case, the band seems to have mellowed in recent years, opting for a much poppier, but no less fetching cadence than was present in the occasionally abrasive sounds of the band’s first two releases from their youth.
Closing out the night was a reunion from local slowcore merchants The String and Return. The group has played a handful of times in recent years, but their most recent output is quickly nearing the decade mark in age. By this late into the night (or early into the morning, since it was just before 1:00 at the time they struck the first chords), the crowd had quieted down to a dull roar and seemed to be in admiration of the melodic, somber lull displayed from the gents on stage. The ebb and flow of music that came from the corner of the room over the course of the evening ranged from poppy to melancholy, and from baby-faced to new classic, but the general theme stayed fairly jubilant for the celebration at hand. If the toasts given were any indication, the guest of honor likely can’t remember much through the haze of the evening, and may very well still be nursing a hangover. Happy birthday, Michael Byars, and thanks for caring about what goes on in this town.
This review originally appeared on Lost in Reviews.
There is no better downtown location in which to see a powerpop/rock show than The Brick. With the exception of the dive bar bathrooms, the venue is one of my favorite places to not only see a reasonably priced show but to eat a good meal with cheap drink specials to boot. I am lucky enough to both work and live within blocks of The Brick, and try my damnedest to patronize the location on at least a monthly basis. Although they are not operating within a very large space, I’ve noticed their sound is always exactly as it should be and have rarely encountered a night when I am unable to hear one of the musicians on stage. This past weekend, I attended live shows at the venue two nights in a row, a first for me at any venue in KC since I was a teenager and had the extra money to hang out at all-ages places such as the El Torreon a few nights a week during the summer. My double night attendance was nearly pushed into a triple night, but alas, I missed the tour kick-off of The ACB’s with headliner Someone Still Loves You Boris Yeltsin the night before.
The night was kicked off at around 10:30 with opener Deco Auto, a powerpop trio who only made their debut as a performing band back in April. I would have been in attendance had it not interfered with my previously scheduled plans to be in Westport for the Middle of the Map Festival. The band played a seemingly short set that turned out to be half an hour and consisted of ten songs with only a few moments between having any kind of banter from guitarist/vocalist Steven Garcia, who later explained to the crowd that he is usually much more friendly. Few and far between were the people who watched the band play without talking to their nearby friends, and the set was only viewed by a sparse two dozen people.
It is easy to judge a young band still trying to get their footing within the music scene, even if the members are veterans of live music themselves. Deco Auto, young and fresh as the entity itself is, really don’t have far to go before they can book time in a studio and get some of the songs I heard recorded to tape. The rough edges seem to still be an ongoing process, but the combination of Garcia’s strong voice for melodic punk-influenced rock and bassist Tracy Flowers supplying an additional level of melody with her vocals, creates a kind of catchy, late ’90s pop-punk/powerpop sound that is best with rough edges intact. The rhythmic backbone from drummer Michelle O’Brien completes the trifecta of Deco Auto, her stripped down playing style taking cues from the earliest days of pop music from seminal acts like The Yardbirds and The Dave Clark Five.
The next to take the stage was another new band called The Chaotic Goods, five guys who hail from Manhattan, KS, and most of which have been active in music for nearly two decades. I was particularly looking forward to seeing this band due to the inclusion of guitarist Marty Robertson, known for his work in Frogpond, Abileen, Onward Crispin Glover and the embarrassingly unspoken of El Fontain. The band began their set strong, touching on a Danger Bob-esque approach to quirky nerd rock/powerpop, vocalist Ralph Reichert at one point exclaiming simply “we write songs about girls,” among other quips between he and a few of the more talkative members of the audience. As the band progressed, there were more and more hit-or-miss songs, some that were an outright throwback to grunge in the worst way, and some that could have been considered for inclusion on an iconic Kansas City Misery type compilation, had the band existed more than 15 years ago when the original was released.
The longer the band played, the more restless the crowd was becoming and the more their talking amongst themselves was increasing. Let it be noted, that had the band played half as long as they actually did, and cut out an equal amount of their set list, they would have been overall well-received by not only myself but the majority of those in attendance that had grown tired of some of the very repetitive songs being played. When they left the stage, I was left a little bitter that they could have been so much better had they not tried to cover so much musical ground in an hour. The vocal harmonization among Reichert, Robertson, and guitarist Ray Kristek was generally in tune and certain songs would have severely suffered had they lacked it, and I was amused with Robertson and bassist Chad Myers frequently trading instruments between songs, but I think the band was just on the wrong lineup on the wrong night.
If there is any band in the metro area that doesn’t get the respect and attention they deserve, it’s chronic room-clearers The Dead Girls. Blame it on their name (someone once told me they expected them to be a metal band) or the fact that, if headlining, they don’t begin playing until some bars and venues are having last call. Blame it on the cringe-worthy banter between guitarists/vocalists Cameron Hawk and JoJo Longbottom, but nobody can say the quartet aren’t all equally talented musicians who put on one hell of a rock show. One could only speculate why the ‘former members of’ hype doesn’t catch up to the powerpop group composed of 2/3 of Ultimate Fakebook and 1/2 of Podstar, but they still manage to play to a small but dedicated built-in audience multiple times a month between Kansas City and their home of Lawrence, KS.
Sitting at a table prior to their performance, and with a cup of hot tea at his side, Hawk explained that he was losing his voice and so their set list that night would largely consist of songs written by Longbottom, Hawk performing the necessary back-up vocals. He seemed rather unfazed upon taking the stage, playing just as hard as he would have otherwise. The band barreled through a set with songs that spanned their discography to date, including the crowd pleaser “You Ignited,” from the 2010 vinyl-only full length Out of Earshot. The band has been gradually unveiling new songs in their recent performances, preparing for the release of a 7″ EP coming out on the same label that released their last effort, as well as the vinyl issue of Ultimate Fakebook’s Electric Kissing Parties. The EP is scheduled for release later in 2011 on Rocketheart Records.