Kris Bruders

Cadillac Flambe

CD Name: 
Old American Law
Music Link: 
http://www.reverbnation.com/cadillacflambe
Album Cover URL: 
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<p><span>Some bands have the ability to create music that reaches into a chasm of sorrow and affliction, exposing the deepest of wounds. With its latest release&nbsp;<span>Old American Law</span>,&nbsp;<a href="https://www.facebook.com/pages/Cadillac-Flambe/274257025472">Cadillac Flambe</a>&nbsp;boasts nine heavily weighted tracks that escort the listener through calamitous musical compositions, and</span><span>&nbsp;tragic tales</span><span>&nbsp;told by the mesmerizing vocals of husband and wife Kris and Havilah Bruders.</span></p> <div>&nbsp;</div> <div><span>Since its previous release,&nbsp;<span>Eli&rsquo;s Porch</span>, Cadillac Flambe has had to adjust its sound. The band&rsquo;s harmonica player James &ldquo;Pappy&rdquo; Garrett, who was an integral component to its dark Americana blues approach, died in a car accident during the making of the 2011 EP. Shrinking down to a four-piece, the band has shifted in a decidedly more rock &lsquo;n roll direction, still retaining its rootsy nature but packing a more substantial punch.</span></div> <div>&nbsp;</div> <div><span>Ushered in by Kris Bruders&rsquo; signature gritty blues guitar sound, &ldquo;Shakin&rsquo; Baby&rdquo; sets the album in motion, highlighted additionally by Michael Payne&rsquo;s massive but calculated drum work and Dave Duly&rsquo;s perfectly in-the-pocket bass playing. On this album, Payne and Duly add a collective rhythmic wallop unheard in previous recordings, pervading the tunes with a rock and R&amp;B heartbeat.</span></div> <div>&nbsp;</div> <div><span>After the first track, you&rsquo;re likely in for the ride, which allows Cadillac Flambe to pull you in to its turbulent descent.</span></div> <div>&nbsp;</div> <div><span>This emotional tailspin&nbsp;</span><span>careens to its greatest depths</span><span>&nbsp;in &ldquo;3 Bullets,&rdquo; the album&rsquo;s longest and most powerful track&mdash;one split into two distinct acts. In Act I, Havilah Bruders tells the story of a desperate mother trying to feed her child, reaching out to the church, the government, and the bank, and is turned away by each. Act II arrives in the middle of the song, which slows from a steady 4/4 to a haunting 6/8 groove, as she discloses the news of her child&rsquo;s death. A chilling anguish is felt as Bruders&rsquo; voice rages, a deliriousness is experienced as she transitions from a quiet whimper to a grief-stricken roar,&nbsp;</span>also revealing the song's final crux: the woman has murdered the three entities that indirectly caused her child's death. Her soul and gospel background is most noticeable here, as she carries us through each scene and makes us feel her misery and despair, measure by measure. It&rsquo;s also apparent in &ldquo;Sweet Chariot,&rdquo; where she takes us through a woman&rsquo;s frenzied fear of impending death, into her answered prayers of serenity and light.</div> <div>&nbsp;</div> <div><span>Most of the songs on&nbsp;<span>Old American Law&nbsp;</span>were penned by Kris Bruders, whose own vocals have a mystic, commanding, but sincere quality to them. Take &ldquo;Father to Son&rdquo; for instance, a narrative about a father&rsquo;s beliefs and pressures onto his son. Bruders&rsquo; vocal delivery at once contains the father&rsquo;s threatening tone and the son&rsquo;s subsequent harsh, casual defiance. In the album&rsquo;s title track, his voice characterizes the overall personality of the album. His words and the dusty Delta blues sound of his hollow-body custom magnesium guitar convey the voice of an uncompromising outlaw. Bruders&rsquo; authoritative, booming vocals&mdash;often coupled with his wife&rsquo;s harmonies, sometimes impassioned, sometimes a simple adornment to his own&mdash;and the unique gravel of his guitar dig into the meat of each song.</span></div> <div>&nbsp;</div> <div><span>Plenty of bands write songs about death, family strife, social issues, and religious conviction, yet few are able to execute it as effectively as Cadillac Flambe does in&nbsp;<span>Old American Law</span>. The throttle of the rhythm section, the bedraggled, melancholy guitar tones, the dissonant piano chords, and the soulful vocals push the message of each song to the forefront. The LP, which was tracked, mixed, and mastered at&nbsp;<a href="https://www.facebook.com/LittleClassRecords">Little Class Records</a>&nbsp;by Keegan Smith, is the strongest manifestation of anything the band has released to date.&nbsp;</span></div> <div>&nbsp;</div> <div><span>--<b>Michelle Bacon</b></span></div> <p>&nbsp;</p>
   

Album review: Cadillac Flambe - Old American Law

(Photo by Todd Zimmer)
 
Some bands have the ability to create music that reaches into a chasm of sorrow and affliction, exposing the deepest of wounds. With its latest release Old American Law, Cadillac Flambe boasts nine heavily weighted tracks that escort the listener through calamitous musical compositions, and tragic tales told by the mesmerizing vocals of husband and wife Kris and Havilah Bruders.
 
Since its previous release, Eli’s Porch, Cadillac Flambe has had to adjust its sound. The band’s harmonica player James “Pappy” Garrett, who was an integral component to its dark Americana blues approach, died in a car accident during the making of the 2011 EP. Shrinking down to a four-piece, the band has shifted in a decidedly more rock ‘n roll direction, still retaining its rootsy nature but packing a more substantial punch.
 
Ushered in by Kris Bruders’ signature gritty blues guitar sound, “Shakin’ Baby” sets the album in motion, highlighted additionally by Michael Payne’s massive but calculated drum work and Dave Duly’s perfectly in-the-pocket bass playing. On this album, Payne and Duly add a collective rhythmic wallop unheard in previous recordings, pervading the tunes with a rock and R&B heartbeat.
 
After the first track, you’re likely in for the ride, which allows Cadillac Flambe to pull you in to its turbulent descent.
 
This emotional tailspin careens to its greatest depths in “3 Bullets,” the album’s longest and most powerful track—one split into two distinct acts. In Act I, Havilah Bruders tells the story of a desperate mother trying to feed her child, reaching out to the church, the government, and the bank, and is turned away by each. Act II arrives in the middle of the song, which slows from a steady 4/4 to a haunting 6/8 groove, as she discloses the news of her child’s death. A chilling anguish is felt as Bruders’ voice rages, a deliriousness is experienced as she transitions from a quiet whimper to a grief-stricken roar, also revealing the song's final crux: the woman has murdered the three entities that indirectly caused her child's death. Her soul and gospel background is most noticeable here, as she carries us through each scene and makes us feel her misery and despair, measure by measure. It’s also apparent in “Sweet Chariot,” where she takes us through a woman’s frenzied fear of impending death, into her answered prayers of serenity and light.
 
Most of the songs on Old American Law were penned by Kris Bruders, whose own vocals have a mystic, commanding, but sincere quality to them. Take “Father to Son” for instance, a narrative about a father’s beliefs and pressures onto his son. Bruders’ vocal delivery at once contains the father’s threatening tone and the son’s subsequent harsh, casual defiance. In the album’s title track, his voice characterizes the overall personality of the album. His words and the dusty Delta blues sound of his hollow-body custom magnesium guitar convey the voice of an uncompromising outlaw. Bruders’ authoritative, booming vocals—often coupled with his wife’s harmonies, sometimes impassioned, sometimes a simple adornment to his own—and the unique growl of his guitar dig into the meat of each song.
 
Plenty of bands write songs about death, family strife, social issues, and religious conviction, yet few are able to execute it as effectively as Cadillac Flambe does in Old American Law. The throttle of the rhythm section, the bedraggled, melancholy guitar tones, the dissonant piano chords, and the soulful vocals push the message of each song to the forefront. The LP, which was tracked, mixed, and mastered at Little Class Records by Keegan Smith, is the strongest manifestation of anything the band has released to date. 
 
--Michelle Bacon
 
Michelle is the editor of The Deli KC and is in bands. Believe it or not, this is the first full album review she’s written all year.
 

On Saturday, July 26, Cadillac Flambe will be performing at Czar Bar with Thunderclaps and Deco Auto. Be sure to check them out. You can also download the new album at the link.

 

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Spotlight: Murder Ballad Ball 2012

(Photo by Todd Zimmer; L-Kris Bruders, R-Dutch Humphrey)

 

On the eve of the Murder Ballad Ball, songs about violence and revenge are being polished like a stainless steel revolver. Blood-colored lipstick is being purchased. Inventive facial hair is being coiffed.
 
We also get a chance to talk with Dutch Humphrey, one of the co-founders of this event, which is entering its fourth year. Humphrey (of The Penny Sheets and Cherokee Rock Rifle) and Kris Bruders began in 2009 what has become an annual tradition ever since.
 
Humphrey attributes the genesis of the Murder Ballad Ball to Bruders, frontman of Cadillac Flambé. “Kris and his band had this dream to bill a show based on solely murder ballads. I immediately fell in love with the idea and put some people in touch with some other people and… well, what do ya know? It went down like a gallows trap door!”
 
Murder Ballad Ball was born at the now-defunct Crosstown Station in 2009 with an array of local entertainers, many of whom have performed each year since. The show has become known for theatrical elements and songs from the point of view of murderers and victims—tales of retribution and gorily detailed narratives of bloodshed. Each year, the event centers around a specific theme of an individual murder ballad. This year’s show centers around the story of “The Sisters Twa,” a murder ballad that originated in the 17th century and tells a tale of a girl drowned by her sister. Musician and filmmaker Anthony Ladesich’s short film Two Sisters is also based on this tale, and will be shown on Saturday.
 
Looking back on Murder Ballad Balls past, Humphrey recalls powerful performances. “I have loved them all. Abigail Henderson had me in tears the first year surely, though she’s good at that. Anthony Ladesich has always been one of my favorites, and his song ‘In the Cut’ totally gets me. It's a modern story, but told brilliantly and is locally interesting.”
 
Not only an organizer, Humphrey also takes part in the event as a performer, playing guitar and singing in The Penny Sheets, a project that includes members of Sons of Great Dane and Hotdog Skeletons. “I’ve personally had the most fun just covering some of my favorites. ‘I Hung My Head’ (originally by Sting, but notably recorded by Johnny Cash for the American series) was a lot of fun to play. Last year, I co-sang a Decemberists’ tune called ‘Shankhill Butchers’ that I still thoroughly enjoy.” Performers are also encouraged to write their own material for the event, and Humphrey reveals that he will be among those playing a few originals.
 
For the first time, this year’s production will take place at Davey’s Uptown Ramblers Club, where two stages will hold the performers. On the bar side: Partners in Glory, Victor & Penny, The Penny Sheets, Rural Grit All-Stars, and The Silver Maggies. On the venue side: Richard Alwyn, Cody Wyoming, Vi Tran Band, Anthony Ladesich and The Secret Liquor Cure, Cadillac Flambé, Adam Lee, and The Blue Boot Heelers. “We have always tried to bring in some newer or less familiar acts as well as inviting many back to perform year after year,” notes Humphrey.
 
Though Humphrey looks forward to Saturday, he’s already thinking about next year’s event. “We’ve been talking about really going all out next year for the five-year mark and making this a two-day affair, with hopes to involve even more local musicians and perhaps some theatre involvements.”
 
Murder Ballad Ball kicks off this Saturday, December 8, at Davey’s Uptown. Doors open at 6 pm and the show starts at 7 pm; tickets are $10 at the door. Murder Ballad Ball is an event that benefits the musician’s emergency health care fund through Midwest Music Foundation. Several donated items will be raffled or auctioned off at the event. For more information and a schedule of performances, visit the Facebook event page here.
 

--Michelle Bacon

Michelle is editor of The Deli Magazine - Kansas City and plays drums in Deco AutoDrew Black & Dirty Electric, and drums/bass in Dolls on Fire. She's a medical editor by day, a musician by night, and a full-time dreamer.

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