Hello there! As you can tell from the glaring vacancy between the last post and this one, I haven’t really written much in the last six months. It’s a new year, and with that I’d like to continue to entertain the
twelve three people that read this website. I haven’t really been able to make the time for writing, but that doesn’t mean I haven’t kept my ears open for great things happening in our fair city. There was such a considerable amount of good music to come out of the metro that I find it difficult to cut the selections down to a top five or ten. With that, I present you with Riot On The Plaza’s ABCs of 2012, a few dozen bands with great releases, many of which went largely unnoticed.
A is for Anakin, who released an astounding space-rock debut, instantly aligning themselves with the likes of HUM, Shiner, and Failure. The band recorded and released Random Accessed Memories before even playing their first public performance.
B is for Black On Black, a raging hardcore punk trio so humble they don’t even want to charge you for a download of Help Yourself, the LFK band’s six-track debut. Take a listen to “No Good So Far” above.
C is for CVLTS, edging themselves into the #1 spot with the internationally released Realiser, an aural oddity rife with tape loops, improvisation, and drastic mood changes. Hear “Wamego Fluff” above.
D is for Droves, who are the uncomfortable pitch blackness to the warm glow in which Soft Lighting allows the listener to bask. Bryan Cox and Michael Protzmann collaborated on an EP released last year. Listen to “Belial” above.
E is for Expo ’70, the perpetually recording project of Justin Wright. Beguiled Entropy pushes the number of his releases to the area of around fifty, and “Mark of the Rising Mantis” exemplifies what I like best about his music: a feeling of hopelessly drifting through space.
F is for Fiat, a fusion trio who blend classical, jazz, and rock together to form a very different kind of beast for the local music scene. The group released Returns over the summer, not so much an EP as a “bundle” of songs that stand on their own.
G is for Ghosty, who continue to please with well-crafted pop rooted in the ’60s and ’70s. “Joy In My Sorrow” is only one of the many stand-out tracks available on their self-titled release.
H is for High Diving Ponies, whose summer release of Suspended in Liquid received an unjustly quiet response from others in the area. The band will be releasing a split double cassette with Rooftop Vigilantes in the coming weeks.
I is for Is It Is, a band that shares with the High Diving Ponies a guitarist in James Capps, who also provides the vocals for the oblique shoegaze present on their debut, Hollyhocks.
J is for John Velghe and The Prodigal Sons, who at their fullest are comprised of nearly a dozen immensely talented musicians from the metro area. “Bloodline” is the first track on Don’t Let Me Stay to prominently feature a horn section.
K is for Katlyn Conroy, who released the three track sampling of Savannah > Jacksonville during the summer under her performing moniker of La Guerre. Listen to closing track “Lights Go Out” above.
L is for Lazy, an ever-evolving and always entertaining group of Kansas Citians who set fire to any semblance of their former selves with the release of Obsession, nine songs of filthy sounding lo-fi punk.
M is for Minden, who left us all in the dust by moving to Portland on the eve of releasing their debut full-length, Exotic Cakes. It was written and recorded here in KC, so as far as I’m concerned this little glam pop gem still deserves inclusion.
N is for No Class, who released their sophomore LP on Canada’s Deranged Records over the summer. Keine Klasse II piles more anger on the band’s already wholesale pissed off hardcore punk.
O is for Osiris-1, the name under which glitchy hip-hop producer Rick Mauna releases many of his recordings. This untitled album was recorded with inspiration from his then still in utero child.
P is for Power and Light, a Euro-inspired synth pop collaboration between Nathan Readey and Ghosty’s Andrew Connor from which I hope to hear much more than a three song EP in 2013.
Q is for The Quivers, an unabashedly retro rock band that draws from the early days of rock ‘n’ roll, pop, and motown. The track above is from the band’s debut EP.
R is for The Roseline, the ongoing project of Colin Halliburton and one of the best alt-country acts the metro has seen since Buffalo Saints dissolved. Vast As Sky is the third and likely most expansive album the band has released to date.
S is for Soft Lighting, the ’80s-influenced synth project of Bryan Cox. Slow Motion Silhouettes took me by complete surprise, and on multiple occasions it could be heard blaring from my car’s stereo while I was driving around at night. It’s that kind of record, I guess.
T is for Thee Water MoccaSins, a local supergroup of sorts, who self-released their towering debut From the Rivers of Missouri and the Banks of Fear and currently only get around to playing shows when Billy Smith is back in town from his current home of NYC.
U is for UMBERTO, Matt Hill’s monstrous creation that made a return to form last year with the release of Night Has a Thousand Screams, a score which was made to coincide with a 1982 horror film.
V is for Vital Forms, whose breadth of sound on their demo EP ranges from dark electronic beats with complementary vocals, to the chunky riffed dream pop you can hear in the track above.
W is for The What Gives, who will appear on this list regardless of their not being an active band in over a decade. Futureman Records dug up some unreleased sessions from the Lawrence lo-fi indie rock/pop group and finally let it be heard by the public.
And in lieu of an X, Y, or Z, I will post a list of honorable mentions:
Capybara‘s Dave Drusky, Coke Weed X‘s self-titled debut, Discoverer‘s Tunnels, Dry Bonnet‘s Seeds EP, Gemini Revolution‘s self-titled effort, Jorge Arana Trio‘s Mapache, Levon Realms‘ Other Time Period, Loss Leader‘s First Assembly, Mouthbreathers‘ Die Alone single, Prevrat‘s Intelligent Discontent, Radar Defender‘s Satellites and Airports, Sundiver‘s Vicious EP, and Surroundher‘s triple CD debut.
I hope you take the time to check out the bands above, they all deserve a listen. What are a few I’m looking forward to in the year ahead?
New ones from The ACB’s, The Dead Girls, and Fourth of July, and the debuts of Bloodbirds, The Conquerors, Radkey, and Shy Boys.
Something I’ve been meaning to get around to since the conception of this blog is to give more attention to that which was released years ago. To date, I’ve focused much of my efforts on covering current music, while at most giving a passing mention to the bands that pre-date those to which I refer. From this point forward, the Looking Back posts will cover releases from bands that have become otherwise forgotten, or at the very least overlooked in the sea of currently active bands in the Kansas City and Lawrence areas. I will try my best to include a scan or decent photo of the front/back cover of the releases, as well as my own personal rip of the album in question. Of course this will not always be possible, but we will deal with that when the problem arises. First up:
It looks like 1996 was a pretty good year for the bands involved, though nowhere near as busy as the year prior for Manhattan’s Truck Stop Love. In 1995, the band released their well-received country, rock, and punk-tinged debut full-length How I Spent My Summer Vacation, as well as the often overlooked Fuentez the Killer EP that contained a cover of Tom Petty’s “Listen to Her Heart.” In the year of this release, Lawrence three-piece Action Man made their debut with Adventures in Boredom on both compact disc and 10″ vinyl. The two crossed paths with this split, and it also served as one of the last releases from either band.
At the link provided, you can find one track from each band recorded when they were essentially in their prime, or at the origins of their eventual demise depending on how you view their timelines. “Nothing Left to Start” clocks in at three minutes, and is a slower-paced but no less riff-heavy offering than much of their material to date, while the three-and-a-half minute “Pool or Pond?” showcases what was to become Chris Tolle’s signature style that made his next band The Creature Comforts such a locally loved act. Both songs are exclusive to this release.
Download here: http://www.mediafire.com/?6whs9vwhs44dis5
For those of you expecting one of my history lessons in this post, I will not leave you wanting. Truck Stop Love on this recording was headed up by Rich Yarges and Jim Crego (of TV Fifty, who replaced Matt Mozier — later of Arthur Dodge and the Horsefeathers). Yarges and Crego both went on to live in the greater Minneapolis area, which makes sense given their affinity with bands from that area in their songwriting. The rhythm section of the band was given its strength from Brad Huhmann, who went on to play in Onward Crispin Glover and Lushbox shortly after the band parted ways, and who more recently can be seen in Red Kate and Knife Crime.
Drummer Eric Melin, formerly of the Moving Van Goghs, saw success once TSL split with Ultimate Fakebook, and is now in The Dead Girls. Fakebook recorded a cover of Truck Stop’s song that you see listed in this post, and it appeared on the band’s 1999 split with The Stereo (which you can find at a blog worth reading here). TSL played a reunion show about eight years ago, but it will likely never happen again for various reasons, not the least of which being that the members don’t even live in the same climate these days.
Before Action Man became known for their poppy, Chris Tolle-supplied power chords, there was a short-lived band called Five-0, with AM’s Steve Buren and Randy Fitzgerald (of Dave Dale’s post-Micronotz jaunt Joe Worker) playing in a three-piece with John Harper (originally of the Micronotz, later of other mainstays such as The Kelly Girls, with Fitzgerald and Dale). Buren also played with Randy’s brother Ron in classic Lawrence punk bands Brompton’s Cocktail and The Hayseeds (the latter was an additional Harper band).
As I’ve already detailed in a paragraph here, Tolle has been known in chronological order as being a part of Rise, AM, The Creature Comforts, The Belles, Olympic Size, Early Reflections, and most recently has been self-releasing some recordings under his own name. Five-0 more or less morphed into what was to become Action Man, and rumor has it that Harper was initially game for the band, but decided to bow out after a handful of practice sessions, never having recorded or performed live with the trio. Upon Action Man parting ways, Tolle started the Creature Comforts with J.D. Warnock (with whom he played in Rise), who also filled in as a second guitarist for some later Fakebook recordings and live performances.
Disclaimer: the album included in this post was attained and ripped by the author, and all pictures or scans present were taken by author unless noted. Should a party involved in the release of the album feel their work is not fitting of digital documentation and prefers it not be freely traded among those without access to the physical product, the author will comply in the removal of the link with little question. Thank you for reading.
There really isn’t much to say about Lemonheads front man (and sole original member) Evan Dando that has not already been mentioned at some point in the songwriter’s 25+ year career. The word “prolific” can be associated with Dando just as much as the word “junkie,” and though you could condemn the use of the word in respect of the man’s personal life, his habits have been public fodder in his own writing for years. Songs such as “Style” (I don’t wanna get stoned / but I don’t wanna not get stoned) and “Ceiling Fan In My Spoon” are but a few in which he has made reference of his afflictions. Regardless of any negative connotations brought upon by his substance abuse or rumored diva antics, this reviewer was still filled with childlike excitement at the announcement of a 20th anniversary tour for the groundbreaking 1992 album It’s A Shame About Ray.
I arrived at Lawrence’s Granada Theater shortly after the 9:00 door time to discover a sparsely filled auditorium with barely two dozen patrons littered about. Most of the crowd could be found nursing beer and having casual conversations among friends, with the occasional lone wolf standing about awkwardly or engaged in the latest time wasting application on their iPhone. Stories could be overheard from the thirty and forty-somethings in attendance of their last experience seeing or meeting Dando, each varying in context and content from nostalgic but cautious optimism, to a group regaling each other of music equipment that turned up missing after a time playing with the man himself.
Local power-pop foursome The Dead Girls took the stage at 9:15 to play a thirty minute cross-section of their material to date, including a few as-yet released tunes to be expected on the next record later this year. The crowd began filling in midway through the band’s set, and anyone who was not yet aware of the opener seemed to have become a fan by the end of their slot. The band still gets occasional billing as a quartet boasting members of well-liked, albeit defunct Lawrence (via Manhattan, KS) groups Ultimate Fakebook and Podstar, though in 2012 The Dead Girls have been around as long as or longer than the aforementioned from which they came. Whereas the former acts were distinctly two-dimensional power-pop or pop-punk crossovers, they now have free reign to allow their music to grow, unashamedly glorifying the works of Big Star and Thin Lizzy in their song structures.
Fred Mascherino walked into the spotlight at 10:00, slung a guitar around his shoulder and introduced himself to the crowd. He then played what seemed to be a fairly impromptu 15-minute set full of mostly solo acoustic-electric songs, save for inviting fellow Philadelphia native Chuck Treece to the stage for a short-lived rhythm section. Both Mascherino (formerly of Breaking Pangaea and Taking Back Sunday) and Treece (one-time touring drummer for Bad Brains and Urge Overkill) are currently serving as Dando’s touring band. While Mascherino played well and made idealistically folksy references to revolution (e.g. the aptly named “Revolution,” by his current band Terrible Things), the placement of his set after the opener seemed to perplex more than a few in the crowd, but he was on and off the stage in the time it takes some bands to soundcheck.
Meredith Sheldon was joined by a three member back-up band shortly before 10:30 to perform thirty minutes of mellow, throwback indie-pop kindred to the era in which It’s A Shame was released, replete with occasional chunky riffs and keyboard-driven melodies. Sheldon carried an air of confidence when performing, but her audience interaction between songs revealed a slightly different stage presence. She sheepishly asked how everyone was doing at the beginning of the set, to a very disenthralled reaction; but upon playing a few songs from her recently released EP then asking the question once more, the crowd let out a series of cheers. At the close of the set, the band left Sheldon on stage to conduct an intriguing acoustic cover of Big Star’s “Kangaroo,” before slinking away into the shadows.
Nearly 45 minutes passed from the time Sheldon’s equipment was torn down to the headlining act hitting the first note. In that time, more than one person in front of the stage asked aloud if Dando had canceled at the last minute. Just as the crowd reached the pinnacle in its restlessness, Dando came stumbling out to the microphone, dirty blonde hair hanging in front of his gaunt face, appearing to have just been woken up by the stage crew. Guitar in hand, he then put his mouth so close to the microphone that his lip movements shifted it on the stand, mumbled something in typical incoherent fashion, and began a set of six acoustic songs. This included, in no great detail, a rendition of Townes Van Zandt’s “Waiting Around to Die,” that appeared on the 2009 covers album Varshons. To be perfectly honest, much of the first few songs could barely be understood due to his proximity with the microphone and his annunciation (or lack thereof).
Mascherino and Treece walked out once the acoustic set was done and immediately launched into the opening notes of “Rockin Stroll,” the kickoff song from the album whose anniversary everyone was there to celebrate. It’s A Shame, in its proper form, clocks in at just under 30 minutes, and the trio wasted no time knocking out one after another until the album was played front to back. Highlights included, among others, the title track and the crowd pleaser “Alison’s Starting to Happen.” The other crowd favorite from Ray, “Bit Part,” was unfortunately not only played in the absence of Juliana Hatfield, but without the addition of female vocals at all. On the topic of being absent, Dando frequently looked as though he had no idea what he was doing or where he was, his eyes occasionally drifting up toward the lights and rolling into the back of his head as he fought to remember the chords (or words) to the song he was playing.
Upon the album being performed with a noticeable lack of the “Mrs. Robinson” cover present on the re-issue, the set went back and forth between acoustic and electric, with a few songs even appearing in a more or less A Capella style by Dando between switching or tuning guitars. The audience heard electric versions of “Style,” from the Ray follow-up album Come On Feel; “No Backbone,” from the self-titled 2006 album; and “All My Life” on acoustic guitar, in the same broken-spirited refrain with which it appeared on Dando’s 2003 solo album Baby I’m Bored. After giving the audience a set totaling over 100 minutes of live music, the only people left to be upset are the ones who wanted to hear “Into Your Arms,” or had the audacity to hope for some of the songs from the Taang! Records years before Ben Deily left the band. I would be in both of those camps, but I left satisfied that even given all of his apparent quirks, antics, and habits, Evan Dando can still put on a hell of a performance.
This review originally appeared on Lost in Reviews. All photos taken by the talented Matt Cook.
Lawrence power-pop sweet hearts The Dead Girls have created a Kickstarter project through label Rocket Heart Records for the release of their new 2-song 7 inch, “She Laughed a Little” b/w “It’s All Happening.” The record will be available on two different colors (400 black, 100 swirl), the b-side of which was recorded about 18 months ago when Justin Pierre from Motion City Soundtrack was in town to lend himself to the recording, along with Blackpool Lights, Creature Comforts and (the often overlooked fourth member of) Ultimate Fakebook, J.D. Warnock.
The band, or more so label, took a very realist approach to the project, and have some extremely reasonable pledge rewards available to those who are able to participate. These range from mp3s of the EP for only $2, mp3s plus the record on black vinyl for $7, and all of the previously mentioned, plus two bonus mp3s and an autographed poster for only $15. The list tops out at the $50 level, which gets the purchaser the aforementioned, the record on the more limited color, a 12 inch of the band’s debut full length Out of Earshot + accompanying mp3s, and a test pressing of the new EP, limited to 7 copies. This tier sold out quickly.
The project has a $2,000 goal and will run until October 1st. Get further information here.
Ultimate Fakebook will be playing their only show (they really can’t be called reunions at this point) of the year at The Bottleneck on October 29th, and various parties involved have been working hard to make sure it is a must-see event. The stars aligned, and both Podstar and The Touchdowns will be playing long-awaited reunions, The ACB’s being the only currently active band on the bill. That is, unless you count the tribute band Pyromaniac.
For the uninformed, Podstar was a Lawrence power-punk sensation earlier last decade, and the quartet’s disbanding more or less coincided with Fakebook deciding to call it quits, and thus The Dead Girls was formed out of the ashes of both. Podstar’s Cameron Hawk (bass in Podstar, guitar in TDG), JoJo Longbottom (guitar) and UFB’s Nick Colby (bass) and Eric Melin (drums) came together and are still very active to this day. The Touchdowns formed in Iola, KS, and were close friends with Podstar, to the point that drummer Ryan Magnuson moved behind the kit at the Podstar camp, replacing JP Redmon prior to the release of the band’s sophomore and final album, 2002’s Lovely 32.
The ACB’s released Stona Rosa, one of the best local albums of the entire year in early 2011, and have been playing local shows and touring when possible. The band recorded a Daytrotter session earlier in the summer that is expected to go live any day now. Pyromaniac is from Manhattan, KS, and will be playing a raucous set paying homage to what is sure to be some of the more scandalous and drug-fueled hair metal that was popular in the ’80s. This is an ’80s themed evening, after all.
This is all just the beginning of what has been dubbed the Revenge of the Nerds Halloween Ball, sponsored in part by KJHK. Other things to be expected include air guitar performances, UFB karaoke and an acoustic set, a costume contest and some yet to be announced special guests. Get more info here. The doors open at 5PM, and tickets are only $13, so make sure you pace yourself with the drinking. I know I won’t.
Earlier this year, local media outlets were beside themselves with the arrival of the new band Minden. The band, composed of members of Kelpie, the Button Band, Buffalo Saints, and other Lawrence acts from the last 5-8 years, was consistently being labeled as a supergroup. I really had no idea why they received this label, but the members have all been a part of musical projects I respect, so I took the term with a grain of salt. I’ve just learned of a new local band that encompasses the term “supergroup” in its truest form.
Christopher Tolle has been active in the Lawrence and Kansas City music scenes for nearly 18 years, from his work in Rise, a high school band that is better off staying in the past (though the lineup also featured a young J.D. Warnock), and Action Man (a band that, if I can remember my history right, started as an offshoot of Five-0 called The Hayseeds, and even had John Harper in the lineup for the earliest days), to the locally seminal Creature Comforts and his primary project for the better part of the last decade, The Belles. Tolle has been a wellspring of great music output for half of his life, and is sure to continue this trend with his newest band, Early Reflections.
Joining Tolle in his newest endeavor is Andrew Sallee of Namelessnumberheadman on guitar, vocals, and wurlitzer. Sallee and the rest of NNHM formed the band when they were living in Shawnee, OK, a small town about 45 minutes east of Oklahoma City, and though the band went through a few different names (Hipster Dufus, The Fauves) before settling on the one that stuck, they essentially found their name when they found a new home in Kansas City a little over a decade ago. NNHM have been dormant for the last few years, but popped up this past winter to play an anniversary show at Recordbar.
Next up in Early Reflections is guitarist/vocalist Bill Latas, best known as one of the founding members of iconic Kansas City grunge/rock band Outhouse. Outhouse played a reunion show at Recordbar earlier this year, but Latas has been staying musically active in a funk/rock and occasional tribute group known as Perpetual Change. Coincidentally, Outhouse co-founders Brad Gaddy and Shawn Poores, as well as Go Kart‘s Larry Groce have been active in their new wave/’80s tribute band called The Zeros.
Brian Everard is the resident bass player in the band. He is currently known as a member of both The Belles and Blackpool Lights, but was in The Creature Comforts as well, meaning all four of his most recognized bands have either been with Tolle, or a member of The Creature Comforts (drummer Billy Brimblecom is in BPL, as well as a range of tribute bands with CC guitarist Warnock).
Rounding out the lineup and further proving the incestuous nature of local music, we have drummer and audio engineer extraordinaire Chris Cosgrove. The list of bands he has been in is dwarfed in comparison to the amount of artists he has worked with in the studio, but the most notable act he was in was the early ’90s math rock quartet Zoom, who themselves played a reunion (or four) earlier this year, one of which was at Recordbar (I see a growing trend here, no?), as part of the previously mentioned NNHM anniversary gig.
Early Reflections will be playing their first official show as a band on June 30th, opening for Meat Puppets at Recordbar. They have been playing unofficially as a more or less “Chris Tolle and Friends” band for a few months, though. One of their public performances worth mentioning is their participation in the recent Replacements tribute show, the lineup only a four piece of Tolle, Everard, Latas, and Shawn Poores. The Dead Girls, Chad Rex, John Velghe & His Prodigal Sons, and a cast of other area musicians appeared on the bill that night as well. Appearing with Early Reflections and Meat Puppets is a Belgian garage revival band called The Black Box Revelation, for fans of Black Rebel Motorcycle Club. It will be a night that should not be missed.
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.