shes a keeper
Album review: She's A Keeper - Westside Royal (EP)
Westside Royal, the new musical offering from She’s A Keeper, is out now on the Internet [the music IRL is at a party on Saturday at Davey’s Uptown, $6, 10:30]. The five new songs wash over with confidence and calm. It’s a professional and creatively successful piece of work that the band has offered up for critical review by The Deli KC.
Upfront, let’s be clear: I like this album. I’d like-button this album, probably, but that’s not the point. After over a dozen streams or so I hear plenty of good stuff, great stuff, and yet—and always—there are compositional choices inevitably worth questioning. Today this will be me, tomorrow it will be someone else, ultimately it is you. There is something really nice about being critical of material that strives for and achieves a certain level of quality. We get to dig a little deeper and talk about the little things, the details. So thanks for the new stuff, guys, and allowing us to pick apart this awesome EP a little. Let’s get into it…
Album opener is “Wannabe.” Great opener. A strong sense of longing in the mood and lyrical content creates magnetism. The music is lively and progressive with great drum work and a really nice piano feature midway. The whole track blossoms and just feels good. The only part that sticks out to me as a missed opportunity is the lack of sonic interest after the piano section. It’s a transitional period in which the band hits a wall (a sequence all in unison) that serves to de-escalate the intensity of the building momentum. What it lacks is some sort of textural context, some color to complement such a straightforward approach. It’s a standard technique and is cultivated by the dynamics of a live show. For a recording it might be more effective to provide a sound to either carry the listener’s attention as an auditory focal point, or as an embellishment to the simple, homophonic texture of the band.
And, of course, once I criticize the band’s use of color I have immediate cause for praise. The second track, “Staying Up” is my favorite kind of song: refreshing, reflective, organic. From the immaculate roll of the opening chord, the music unfolds with elegant gravity. Imagine leaves falling. Jangly guitars fit snugly in a vibrant mix and are accompanied by tasteful and highly complimentary banjo picking. This is one of the most unique moments on the album; Keeper finds a place to reside comfortably and welcomes the listener to a sound of its own. The vocal work at the end is really cool and extremely well done. Because I like this track so much, I wish there was more to bite off lyrically, but I think this is a minor smudge in light of the track’s overall magnificence.
The first tidbit of attitude we get comes immediately with the onset of “I Won’t,” a cool, breezy, kinetic track lushed out quite beautifully. The egg shaker, for instance, is a breath of fresh air. The drums are built logically and done with precision. The dirty guitar would contribute more with a more vibrant tone, maybe more chord definition. But, the clean guitar work is spot-on. I love the tone and the slinky riff that carries the groove and harmony. I am looking forward to experiencing this song live. It seems honed by interaction.
On “Dead Serious” we get the most intriguing literary premise and the lyrics have more color, a wider vocabulary, and more devices. This sort of lyrical craft is a great complement to Keeper’s instantly amicable sonic stylings. We also get a cool, augmented, kinda hypnotic chord structure bringing in some welcomed harmonic struggle in the midst of the album’s overall consonance. The outro feels fresh and playful with that augmented bit making a delicate return.
“Pennsylvania” closes the EP nicely. It’s a sentimental ballad about a far off place, a far off time. My initial thought is a harsh one: Do we need more of these? The track goes down easy... maybe too easy, but again, Keeper does it well. The band stays concise and resists the urge to include a four-minute chant section that helps keep the song lean and honest. Don’t get me wrong, it’s a gorgeous melody and the style is executed with great skill, I just can’t help but wonder if the band could have been a bit more adventurous in its closing statement. I am being quite critical of a track that is, for all intents and purposes, flawless. This is food for thought. Here is a band that has a great following, great instincts and musicianship: Do we have the faith to follow them into unknown territory?
Finally, here’s my dilemma with the piece and the EP in general: while the band packs a little too much sugar in their recipe sometimes, the music ultimatelyleaves a good taste in my mouth. It also leaves me with an undeniable sense of peace and closure. Which, damn it all if that’s not the point.
Overall, it’s obvious that She’s A Keeper is a group of talented musicians who know how to make a solid recording. Due credit must also be given to engineer/producer Joel Nanos at Element Recording, where the project came to life… which is just down the street from what I can only assume is our mutually local liquor store of which the title may have been adopted (my hunch).
Check out She’s A Keeper online and join us on Saturday, January 31, to see them LIVE at Davey’s Uptown with Organized Crimes. Facebook event page.
--Jerad Tomasino
Jerad is a musician and human being local to KCMO since 2005. He studied Music Composition at the Conservatory at UMKC, is a founding member of Golden Sound Records, The Crossroads Summer Block Party, and has been active as a writer/player/producer for bands, including his own Everyday/Everynight (KCMO) and Nifty250 (Omaha).
Recent local single reviews
White Girl – “M.E.T.R.O.R.O.C.K.” b/w “Cocky”
Brow-beating modern house beats meet 80s synth pop revival on the new 7” from White Girl. Self-described as “a dance-infused pop romp through eternal fields of post punk grasses and rolling new wave hills,” Martin Bush crafts a couple of undeniably catchy EDM tunes sure to bounce around the kids that think they are too cool for Devo.
“M.E.T.R.O.R.O.C.K.” is the A-side, not surprising given the amount of hooks, tricks, and crowd fodder thrown into five and half minutes of music. Bush’s heavily affected robotic vocals and aggressive synth choices stick out, giving the song a harder edge akin to Deadmau5 or the older reaches of the Daft Punk catalog.
“Cocky” starts with an uncanny and amazing 17 seconds of 8-bit NES-sounding music before it throws on a light pink blazer with shoulder pads to spare, hops in the old trusty Fiero and cruises the downtown drag of new wave. It is the more interesting song of the pair, heavily leaning on familiar tones and sensibilities with enough modern twists and turns to not sound completely dated.
She’s A Keeper – “Wannabe”
She’s a Keeper takes us down a dreamy chugglin’ rail with the new single “Wannabe.” Moving in a more indie rock direction, the symphonic layers of instrumentation we’ve been accustomed to from SAK in the past are replaced with blankets of verby guitars, ranging from bright and chimy to tarnished with overdriven grit. Beyond that, the hallmarks of the SAK playbook are more or less still present: tight vocal harmonies throughout, flickers of tasteful additional instrumentation to round out the sound (in this case the reserved plink of a piano), and deft songwriting with careful attention paid to changing, stripping down, and building back the groove several times. It shows a nice balance of consistency vs. maturation for the band and a sign of a more rocking She’s a Keeper to come.
Shy Boys – “Life is Peachy” b/w “Follow the Leader”
(Photo by Forester Michael)
Much in the vein of fellow Kansas City indie dream pop darlings The ACBs, Shy Boys craft a beautifully floating and meandering surfy sonic scape on its recent 7” release. The two tracks, the aforementionally-styled “Follow the Leader” and the more straightforward pop rock ear worm “Life is Peachy” provide a nice sample of what this popular area trio has to offer. Reverb upon reverb upon reverb over a solid layer of tightly crafted instrumentation push these slyly written tunes along a jangly sea breeze slip and slide. The guitar and vocal hand-holding in “Follow the Leader” especially sticks out, as well as the “Gotcha!” song pause in the middle.
Now Now Sleepyhead – “Influenza”
An interesting mix of the ‘80s pop revival, ‘90s hard rock alternative, and a little electronica, Now Now Sleepyhead premieres “Influenza,” the lead single from The Violator, a two-record concept collect due for release later this year. Backed by a mix of four-on-the-floor and the ever popular modern twist on the disco-dance rock beat, the drums are featured prominently, overshadowing the various instrumentation at times with a beating groove that will most certainly get feet and asses moving.
Clearly with a wink towards both the club and hardcore kids, the song features an aggressive electronic breakdown guaranteed to set off the subs. The vocals stay pure throughout, showing almost a restrained disconnect, especially in the choruses when screaming could be warranted. Overall, an exciting preview of what looks to be a highly artistic and impressive future release.
Microphone Jack – “I Refuse to Choose the Blues”
“It only aggravates our suffering to wallow in those self-indulgent blues.”
Local humor balladeer Microphone Jack’s latest single takes a wry shot at one of Kansas City’s time-honored traditions with “I Refuse to Choose the Blues.” Featuring a Randy Newman-esque piano and vocal styling recorded live at one of his recent shows, the simple effort hearkens back to a time when you might lay on your bedroom floor at 2 o’clock in the morning listening to the Dr. Demento show. Tom Lehrer and Stan Freiberg immediately come to mind as Microphone Jack deftly moves through his thoughts on the ironic vicious cycle of making yourself sadder by focusing on how sad you are. MJ’s self-stated mission is global transformation through funny songs. This song definitely moves him one step closer.
Oils – “Waves We Feel”
Oils knows how to make the pretty. The Lawrence-based outfit continues to flex this muscle exceedingly well on the “Waves We Feel” single release via Replay Records. One simple but powerful set of words is repeated through the verses as the instruments care to build up a dreamy dynamic centered around the ever-present bright and chimey Fender guitar sound. By the end, the whole band comes together with a sonic gut punch worthy of the longing fueled lyrics. The lo-fi quality and occasional guitar miscue only add to the overall theme of charming sincerity.
--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, Drew Black & Dirty Electric, and Riot Riot Riot, as well as contributing to various other Kansas City-based music, comedy, and art projects.
Show recap: Apocalypse Meow 6
On any given night in KC or Lawrence, there are bands playing to groups of varying sizes and intensity levels. Some of the audience is on its feet dancing. Some of them have their noses stuck in their electronic habitats. People order a few drinks at the bar during a quiet song, maybe smoke a cigarette between songs. The Friday night kick-off party of Apocalypse Meow 6 was one of those rare nights when the audience unified to experience and be captivated by the music.
This is the first Apocalypse Meow show since the death of Abigail Henderson, who—along with friends and husband Chris Meck—founded Midwest Music Foundation after friends held a benefit for Henderson when she was diagnosed with breast cancer in 2008. On Friday, Meck debuted his trio The Guilty Birds (pictured above), the first project without his wife since they began 10 years ago in Trouble Junction, and his very first project as primary singer/songwriter.
The trio (including Tiny Horse members Zach Phillips and Matt Richey) played a short but poignant rock/soul-infused set, while a packed crowd locked eyes and ears to draw in each note; to admire the musicianship, the ability, the fire, the obstacles and the affirming end result; to feel the anguish of a noticeable absence, but to honor and celebrate its legacy. The Silver Maggies kept the audience at attention with dark Americana propelled by intelligent songwriting. Hundreds of raffle tickets for Meck’s custom-built (with assistance from Phillips, Chris Wagner, and Paul Marchman) Fender Telecaster were purchased on Friday alone, and that spirit of generosity graciously carried into Saturday evening.
With a larger-capacity venue at Knuckleheads, eleven bands/solo performers commandeered the indoor and outdoor stages on night two. She’s A Keeper began by grabbing and enveloping the filtering-in crowd with its brand of colossal folk rock. The entrancing, aggressive outlaw blues of the duo Freight Train & Rabbit Killer (pictured below) demanded attention with its minimalistic setup, menacing costumes, and otherworldly presence. Meanwhile, the acoustic stage was occupied by a few KC music legends, all of whom were dear friends of Henderson’s. This connection translated into each musician’s cathartic sound, beginning with heartstring-pulling stories from Tony Ladesich (pictured below). Betse Ellis followed (and guest starred with the other acoustic stage performers later) with a fierce fiddle that could have sliced through any act on the main stage.
As the evening grew colder, warm bodies migrated toward the front and moved their hips to power trio Not A Planet (pictured below), pushed by the dynamic rhythm section of Liam Sumnicht and Bill Surges and steered by Nathan Corsi’s steady, pitch-perfect vocals. And no matter which stage you chose or floated to and from, each remaining act performed with no shortage of moxie. Howard Iceberg—KC’s answer to Bob Dylan—played a quiet but potent, storied set that included a duet performance with Michelle Sanders, a dulcet complement to Iceberg’s earnestly gruff voice. Federation of Horsepower frontman Gregg Todt (pictured below with Ellis) traded in his distorted axe for to round out the acoustic stage with a bluesy soul tone.
The second half of main stage featured three acts with female powerhouses at the forefront. The Latenight Callers’ Julie Berndsen allured the crowd with a coy sensuality that developed into a fiery, lascivious character, enhanced by the band’s electrifying, mammoth noir sounds. The Philistines continued in that same vein of ferocity from Kimberely Queen, whose appropriately unbridled theatrics amplified the band’s barbaric psychedelic rock sounds. The musical climax came when Sister Mary Rotten Crotch (pictured below) was welcomed to the stage right after Meck’s guitar was raffled off and subsequently auctioned (Artie Scholes, the raffle winner and also owner of The 403 Club, gave the guitar back to MMF for this purpose) to the highest bidder. But outside of this positive gesture and outside of the fact that many fans had been waiting for Sister Mary to take the stage again (the band’s last performance before taking a five-year hiatus was Apocalypse Meow 1 in ’08, and they only recently reunited to play a couple weeks before), frontwoman Liz Spillman Nord injected the hungry audience with an acrimonious punk vitriol. The veteran band showed old and new fans alike that they still pack a mean, purposeful rock punch and they still don’t give a fuck what you think.
Midwest Music Foundation and Abby's Fund for Musicians' Health Care made $12,000 at Apocalypse Meow this year, thanks to the efforts of all that were in attendance or made a donation of time, money, and/or resources. And though it was impossible for each moment of Meow weekend to have been as uninterrupted and uplifting as its inaugural set was, a sense of community was felt by each attendee and volunteer/staff member, each auction bid, each raffle ticket that fell into each bucket, each embrace or tear shed, each note or beat played.
On behalf of Midwest Music Foundation and The Deli Magazine—Kansas City, we thank you for your support of local music and those who work to make it happen. We thank you for honoring Abigail and helping us continue to carry on her legacy.
--Michelle Bacon
Michelle is editor of The Deli Magazine - Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. Thanks to everyone who made this weekend beautiful. #shinealight