India and B. Rhyan of Astronauts of Antiquity are kind of like Billy Crystal and Meg Ryan from When Harry Met Sally—emphasis on kind of. If Meg Ryan was a seductive lounge songstress and Billy Crystal a virtuosic guitarist, the analogy would be much more accurate. As the pillars of AoA, the pair initially crossed paths at an airport while India was rushing to make a flight. Three years later they coincidentally reconnected at one of India’s concerts in Milwaukee. Rhyan was so impressed with her stage presence and talent he couldn’t help but go behind stage and introduce himself. Their connection was strong enough to pry India from her then boyfriend and pit the two together as musical partners and lovers from there on out. Anyone who has heard their music will most likely suggest their reconnection wasn’t merely a coincidence after all.

India

AoA’s sound is nearly unclassifiable. While fans and critics alike dabble in the labeling game, the result is nothing but an alphabet soup of meaningless mash up genres (urban-electro-organica). Every now and then music comes along that simply cannot be pigeon holed into one genre, so why try? The fact of the matter is AoA produce a hip concoction of jazz, funk, electronic, soul, lounge and dub—five genres that magically compliment one another when formatted correctly— in turn providing an unforgettable live experience. This eclecticism stems from the member’s extensive musical knowledge along with the wisdom gained from performing and living all over the world.

The stirring “Supa Soul” begins with nothing more than hand percussion and hooky bass riff, but before the listener can get their bearings the track elevates to a diverse mix of panning guitars and electric organ, all of which support India’s soaring and suggestive vocals. The climax of the song hits with the powerful bridge exhibiting India’s vocal fortitude, a section that actually sounds more like a rock song with layered power chords than the funky dub vibe it begins with. Songs like this one prove AoA’s masterful chameleon-like ability to blend genres within songs, a spontaneous quality that assures their material remains fresh and unpredictable with every phrasing. Other songs like “Soup Du Jour” begin with a melting relaxation and maintain the same vibe throughout, even though the instrumentation and harmonies eventually increase.

Whether genre-altering or not, AoA’s infectious tunes continue to win over fans and rake in the local awards like “Best Band,” “Best Vocalist” and “Best Songwriters.” These die hard Do-It-Yourselfers are currently recording a new album and are looking to get back on tour as soon as possible. Show them some love before they’re nationally known!

Jax and Seth Anderson are a brother and sister indie pop duo with a somewhat unusual songwriting process.  For most of the year, the siblings live in different states collaborating back and forth via e-mail to produce their music. Jax handles melody, lyrics and vocals while Seth takes care of the backing music. They’ve named their ongoing project, Apples Trees & Tangerines. For this week’s “Liner Notes” edition, we asked songstress Jax about their peculiar track  “Orange”. Despite the upbeat sound, the lyrics reveal a much different story as the underlying theme speaks to the effects of alcoholism on personal relationships.

The song “Orange” was written about a very personal event in mine and Seth’s life. Over the years, a person very close to us had come to develop a drinking problem. Every time either of us would see them they would be nearly incomprehensible with the way they carried themselves. It got to the point where we could hardly stand to be around them. They would consistently make a fool out of themselves while the company we kept sat watching thinking it was hilarious. I felt helpless in the situation because it was as if Seth and I were the only ones who noticed how bad it had really gotten. I guess, in a way, this song was our method of calling them out. The line “When you’re gone” is a reference to what our friend was most of the past few years; drunk.

Talk to the Mano: Domino Saints

If Domino Saints prove anything, it’s that a lot of sound can come from just a few people. The duo, comprised of singer Giselle Ojeda and percussionist David Leal, infuse their dance music with contemporary trends and vintage textures that span several cultures. Nothing is off limits in this melting pot. Expect anything from time-honored Latin traditions like bomba and plena to island music like reggae and dancehall, old school funk and soul and new school reggaeton.

Domino Saints’ Puerto Rican heritage is never more apparent than in their single, “Buenos Dias San Juan,” which won a Billboard World Songwriting Contest award and was featured as an iTunes single of the week. The song opens with guitars that nod to Isaac Hayes’ “Shaft” and a burping horn section that leads into a raw bomba groove. Sung in Spanish, the lyrics may be obscured to Gringos, but the message comes through loud and clear—standing still is not an option. On the subversive, darker funk track “Machiavelic,” Ojeda sings, “I’ve got a plan to take over the world / I’m gonna do it with music.” Let’s hope Domino Saints follow though on the threat.

Every musician—Jay-Z and Ryan Adams included—comes down with writer’s block at some point in his or her career. Just like swine flu, there’s very little you can do to prevent it. Then again, like swine flu, a full recovery can be made with a little help.

When you feel your creative juices dwindling, or when your well of ideas is as dry as the Sahara, use these simple tips as fodder for songwriting success.

• Feed your inspiration. If you’re running low on good ideas for lyrics, go take a walk around your neighborhood, read a book or watch the news. Keep a notebook on hand to jot down ideas. Sooner or later a story will present itself to you. If you’re looking for musical inspiration, turn on your iPod. What songs move you? Figure out precisely what element is resonating. Don’t try to copy it; simply use it as a starting point for your own journey.

• Stay focused. Keep whatever first inspired you to write the song (be it a lyric, melody, chord progression, etc.) as your focus. Don’t second guess that.

• Know when to take a break. It’s easy to loose perspective if you’ve been working on one song for too long. Put it down and come back to it.

• Record yourself. Even if it’s with a crappy handheld tape recorder. You will hear the song in a whole new light when you’re not distracted by the physical aspect of playing and/or singing.

• Call for backup. Sometimes two or three heads are better than one. Many great ideas come from collaborative environments. Recruit some of your musician friends and, for lack of a better term, jam. See what ideas rise to the top.

Follow these guidelines, and the symptoms of your writer’s block should improve. Truly great songs are a labor of love, so hang in there.

Erin McKeown Is Kinda Coy

The economic down-turn has forced many musicians to get as creative with their marketing as with their music. One artist that is especially inspirational in this regard is Massachusetts-based Erin McKeown. The singer/songwriter/ace guitarist hosted a series of Pay-Per-View streaming online concerts called “Cabin Fever” from her home and raised the funds to finance her wonderful new album, Hundreds of Lions.

The clever “Cabin Fever” concept paid off as great advance publicity for the album. Not only has Lions reached #1 on Amazon.com but the Internet series also helped Erin score a deal with Righteous Babe Records, as well. On December 3rd she will be featured on NPR’s “Song of the Day.”

All four episodes of “Cabin Fever” were shot last summer from Erin’s home — in her living room, on her front porch, in a river and in her front yard. Special guests include Sonya Kitchell, Kris Delmhorst and Garrison Starr among many others.

Playing an average of 200 dates a year, Erin is no stranger to life on the road. She’s been building her fan base that way for a decade. But she can now count Mike Mills of REM fame, who she met at a recent Future of Music summit in DC, among her growing legion of devoted fans. With a full schedule of shows through the end of the year and plans to tour Europe through January, Erin is currently traversing the country with fellow Internet fund-raiser, Jill Sobule on their co-headlined “Clash of the Legends” tour. I caught up with Erin in the midst of a 25-hour drive from Minneapolis to Seattle.

Listen to the track “Santa Cruz ” from Hundreds of Lions.

CD: “Cabin Fever” is such a great idea! How did that manifest?

EM: I self-financed Lions, so I was carrying a lot of debt around. I knew I could ask my fans for support but I didn’t want to do that without offering them something unique. So I sold them tickets to a live Internet variety show —“Wayne’s World” meets “The Judy Garland show.”

CD: Were you able to raise enough for the album through “Cabin Fever” to cover it?

EM: The album was not completely paid for but the notice generated by the series did help me find a label (Righteous Babe) and that put me in a less precarious financial position.

CD: Why did you decide to put this out on Righteous Babe rather than on your own? What do they bring to the table?

EM: Righteous Babe brings not only their reputation but their staff, which is incredible. What a group of smart, experienced and dedicated folks!

CD: You’ve been touring with Jill on the “Clash of the Legends” tour. Jill also funded for her latest album through fans. How did this pairing come about?

EM: Our managers knew each other. I’d certainly heard of Jill and was in awe of her funding success, but I didn’t know her. We’ve discovered we have a tremendous amount in common and I genuinely like her. She’s a fantastic musician and I never know what she’s gonna do next. (I hear ya, Erin!)

CD: Your bio mentions you were a session player. Who are some other artists you’ve worked with and what did you play on those albums?

EM: I played piano, guitar and sang for Kris Delmhorst; songwriting and vocals for Sonya Kitchell and played bass with Among the Oak and Ash. I also have a side project with drummer Allison Miller called Emma. I play guitar, piano and sing in that.

CD: The songs on Hundreds of Lions are so whimsical. How do those translate live since they have such lush instrumentation?

EM: They are translating very well live! They are intimate songs at the core, and I wrote them with the idea that they needed to work small as well as large.

CD: You have mentioned that the music industry has changed so much since you first began your career. Can you talk about the challenges of that and what specifically has changed?

EM: The industry has changed but my daily life has barely changed. I’ve always done a lot of things myself and played a lot of shows. Now I spend more time talking to fans and I make more of the decisions that affect me. Both of those are good things.

CD: How has an ethnomusicology degree from Brown helped your career?

EM: Before I graduated I had two albums out and was already touring. My degree was a convenient way to get credit for what I was already doing.

CD: What is the biggest challenge in touring now?

EM: Staying positive and physically healthy. Luckily I’ve been at it awhile and know what I need.

CD: When did you write the songs for this album?

EM: Between 2005 and early 2008.

CD: How long did it take to record?

EM: About six months. We did four two-week sessions over that period of time.

CD: Your bio mentions your activism around energy policy. Tell me about that.

EM: That is referring to a lobby day I participated in with Ani and the Indigo Girls around a climate bill in the summer of 2005. My current work includes partnering with non-profits in New Orleans to continue the rebuilding effort and maintain awareness of the important work that needs to be done there. I’ve also recently jumped into the campaigns for net neutrality and to increase low power FM radio access for communities. You can get more info at sweethomeneworleans.com and futureofmusic.org.

The scene was exactly what you would expect —one hundred or so hands-in-pockets wallflowers standing idly in a comfortably sized room, every single one of them gazing in awe of the minimally groomed wordsmith wrapping poetically bound stories of enlightenment and regret through the rafters. Not surprisingly, conversation amongst cohorts was nonexistent, and even breathing seemed to be calculated to avoid tarnishing the trance like spell Tillman had cast upon the audience. Methodical, wise and visibly convectional, Tillman’s vocal delivery validates his status as a folk purist. With eyelids remaining shut for the majority of the set, any onlooker can tell that Tillman’s creations come from deep within, and are designed to be enjoyed privately in order to attain the utmost sense of nostalgia and resolve. Sonically, the inconstant forms and occasional falsetto remind this writer of Jeff Buckley during his more musically skeletal compositions.

Tillman enjoying the day with shaggy Fleet Foxes bandmates

Instrumentally, the night was magnificently low-fi—consisting of lead guitar, rhythm guitar, slide guitar, bass, drums and the occasional dissonant recorder/ gong (glorified cymbal) / tambourine / handclaps/ and even car keys. The ensemble was in place merely to support Tillman’s storytelling at times, and— in other scenarios —was there to threaten noise-induced hearing loss. Few times in my life have I witnessed an artist physically contorting with the rhythmic pulse in every beat to the extent that J. did, and it wasn’t before long that the other musicians on stage had caught the same infection. In multiple occasions throughout the set, songs that began in the standard folk vein reached levels of a full blown rock song near their climax, replete with deliberate electronic feedback, chaotic percussion, and a hair-tossing, headbanging front man. He even converted an ordinary ride cymbal into a makeshift gong, hanging it from a mic stand and pounding it with ear shattering devotion while rolling around on the ground.

Tillman @ Middle East Upstairs, Cambridge, MA, 11.15.09

Lyrically, Tillman paints history through anecdotes and fables. With poetic output the likes of “Don’t want to live again / because I don’t want this life to end” and “begging for surrender as the black sky swelled with fire” he emits an omniscient perspective and universal imagery that benefits both audience and subject matter. One highlight of the night was the chilling “There Is No Good In Me.” Beginning as the description of a cold-hearted narrator possessing a “taste for blood,” and having “rendered families from their homes” the piece evolves into an uplifting thaw of a frigid heart though we are left unconvinced of the outcome. Performed live, this song disintegrated into a distorted collection of driving rhythms, leaving the audience member to believe that this song isn’t so uplifting after all. The most soothing segment of the night was J.’s solo encore, “Year in The Kingdom,” the title track off his new release. This song conveys an angle of remembrance of a Kingdom once enjoyed but since forgotten, “I spent a year in the Kingdom / On my way / On my way through the garden” … “I’d give back every night but some / every lay in the dawn / I’d give back my singing voice / for one more day / one more day in the Kingdom.” Fraught with longing, this tune is poised to remind folks in all stages of life to appreciate and make the most of whatever time they have left.

A Year in The Kingdom

The stage banter between Tillman and friends was brief, but charming nonetheless. Whether declaring that his heart would explode if there was any more love in the room, or acknowledging the goofiness of using car keys as an instrument through a sheepish smile, Tillman’s quiet yet noticeable charisma undoubtedly contributed to the lasting bond between artist and fan, and incredible speed at which time flew by. Before I knew it, the one hundred minute set had suddenly dissolved into a meet and greet in the corner.

Perhaps the best part about Tillman’s pieces is that they’re not restricted to any demographics. Whether resounding through the enchanted coastal forests of Tillman’s native northwest, or echoing through the serene Midwestern heartland, his songs just seem to fall into place with the American garden landscape. After all, you have to go exploring in the garden to find the Kingdom.

Tillman’s tour has plenty more dates, check them out here to see if he’s coming to a venue near you!

“Bittersweet” is a song that’s garnering huge success on OurStage for Elyse. And, while “taking the good with the bad” is a great way to live, there’s nothing bad to cope with when it comes to Elyse Saunders! Check out her fanclub and enjoy!

Home Of: Melissa Etheridge, Kansas, Martina McBride, Pat Metheny, Chet Nichols, Coleman Hawkins, Stan Kenton.

Fun Facts: State Flower: Sunflower, State Tree: Cottonwood, State Song: “Home on The Range.”

The Venues:

Ex-Idol Kellie Pickler at Stampede '07

Kansas’ Country Stampede festival is arguably one of the nation’s biggest musical gatherings dedicated solely to country music. Located just north of Manhattan, KS (appropriately nicknamed the little apple), Country Stampede is one of the few country music festivals to offer camping spots to their customers, and because the festival is located in the gorgeous Tuttle Creek State Park, many take advantage of the opportunity to spend their nights under the stars. This year the 4-day festival witnessed over 160,000 visitors, including the 50,000 attendees waiting for Tim McGraw’s headlining performance. Next year the festival will run June 24-27 and feature headliners Keith Urban and Miranda Lambert, two mega stars who fit in perfectly with a roster of past performers that boasts country icons the likes of Brooks and Dunn, Big & Rich, Toby Keith, and Kenny Chesney.

Home to the University of Kansas, Lawrence just might be the hippest city in the state. One Lawrence hot spot booking both local open mic nights and national touring acts is The Bottleneck. This former roller rink and industrial paper factory now conceals echoes of performers past, from Cake to Bo Diddley, and even hosts a weekly neon dance party!

The Music:

Do I see Davy Crockett and Billy the Kid?

A quick glance at Pistol River’s profile picture will reveal a who’s who of 19th century American characters, from the classic Western cowboy to the coonskin cap-wearing trapper. And though their music does not hail from the same era as their image, it doesn’t stray too far. Originally formed as a group of musicians for two Nashville songwriters, OurStage ensemble Pistol River composes standard country songs replete with fiddle and slide guitar; their song “Cross Your Heart” will ease your soul and set you into a nostalgic mood for hours.

This is how Kansans show attitude.

Traveling from town to town with a sound they describe as having a “whiskey backbone,” and a biography boasting groove-inducing, soul-filled blues, the Terry Quiett Band is anything but quiet. The band promises to make you scream, laugh and cry all in the same performance. This is no lie. In a musical landscape where many bands tour out of necessity, these Kansas rockers tour for the love of the music they create, an endearing motive restoring faith to the fans in attendance to matter how meager the crowd may be. Did I mention they have seventeen Top 10 finishes on the site?

Explicit soul = Soulicit

Some bands succeed because they emphasize their originality. Other bands are so good at perfecting well established genres that there’s no need to highlight any diversion from the mainstream, as is the case with Witchita’s Soulicit. They describe themselves as straight up hard rock music sprinkled with catchy riffs and powerful vocals, a description that needs little elaboration. Four member Soulicit exudes a polished sound that’s just begging for radio promotion. Check out their song “The Right Time” to see what I mean!

Check out these acts and other great Kansan artists in the playlist below! Who are your favorite OurStage Kansans? Where do you like to see music in Kansas? Let us know in the comments!

Jersey Girl: MC A.B.Y.S.S.

Braggarts, grand-standers, blatherskites—rap is full of them. If they’re not name-checking the labels on their clothing, they’re advertising their lyrical swerve or sexual prowess. Aspirational thinking (or flagrant machismo, as the case may be) is a key element in hip hop’s oral tradition. However, you’ll be called out if you don’t have the chops to back up your own hype, and your castle made of sand will melt into the sea (eventually).

A.B.Y.S.S. doesn’t have to worry about her kingdom crumbling any time soon. The New Jersey MC constructs verbal skyscrapers, but the fortunately their foundation is rock solid. “Get.It.In” is a relentless banger, where sinewy guitar lines add a sinister edge to a thumping anthem. Like a boxer set to enter the ring, the MC comes out swinging: “I’m a demonstrator, not a hesitator / I’m going straight through the roof, f*** the elevator.” One of the most refreshing qualities of A.B.Y.S.S. is her low threshold for the status symbols ingrained in contemporary hip-hop. In “(Death of) Swag-Up,” she takes the counterpoint to materialistic MCs, saying, “No shades? / You ain’t got no ice? / Au naturel? / Damn you looking nice!” The track is original enough on lyrical content alone — add to that a rattling, percolating beat and you have something special.

A.B.Y.S.S., whose name is an acronym for Ask Before You Speak Stupidly, is fiercely independent—insisting on “(Death of) Swag-Up”: “I don’t need a huge crew.” Unfortunately, with chops like hers, a widespread following may be inevitable.

Barcelona-born singer IreneB was raised on a healthy diet of modern R&B from the likes of Mariah Carey, Whitney Houston and Boyz II Men. She began her music career studying at Aula de Música Moderna y Jazz del Liceo. After releasing two successful records in Spain, she put out her first English language album Metamorphosis earlier this year. Prepare to fall in love with this songbird on the very soulful “Are You the One For Me?”

Ester Andujar

On the Spanish indie rock front there’s The Last 3 Lines. With a myriad of post-punk and britpop influences, this band would be hard to pick out of a police line up consisting of We Are Scientists and The Futureheads. Check out the band’s recently-released Crows EP featuring future classic “Fish Tank.”

Ester Andujar got her start in the mid 90s singing in jazz clubs around Valencia. After growing a reputation by performing with some of Spain’s best musicians such as guitarist Ximo Tebar and Ramon Cardo, she was elected President of the Valencian Association of Jazz Musicians in 2000. In 2005 she released the internationally acclaimed Celebrating Cole Porter tribute album. Listen to “Aprovecho La lluvia” to get a sense of Ester’s timeless sound.

Las Palmas is the capital city in the Spanish island of Gran Canaria. It’s also home to Red Marks, a rock band reviving that classic garage sound in the same vein as The Mooney Suzuki and The Hellacopters. The band, led by singer Marcos Alonso Ramos, has been around since 1996; albeit with a few roster changes along the way.