nicole springer | The Deli Magazine

Song premiere: "Bad Production" by The Good Hearts

The Deli KC is happy to premiere the debut single from The Good Hearts, “Bad Production.”

This new trio is headed up by Nicole Springer, best known for her work in The Clementines. “About a year ago, I found myself losing my confidence in music. Rather than give up on it entirely, I decided it was time to start a new project that might help inspire me again,” she says. Though The Good Hearts’ music is tinged with the same soulfully driven folk pop elements as The Clementines, the addition of violinist Roshelle Pekarek and cellist Anna Cook has allowed Springer to take new directions with her songs.

“I loved the idea of writing very intimate songs and arranging them with string players,” says Springer, who has been able to further explore the depths and possibilities of her songwriting through this project. “Once Roshelle, Anna, and I started working on my material, I knew I had found my happiness in music again.”

“Bad Production” was recorded and produced by Lennon Bone.

--Michelle Bacon

The Good Hearts will be making their debut live performance this Sunday, December 13, at recordBar. Show starts at 8 pm. Facebook event page. You can also catch them at Coda for MudStomp Records’ Saturday Afternoon Stomp on December 19 at 3 pm. Facebook event page.

December 08, 2015

Album review: The Clementines - Someday/Over (EP)

(Photo by JillRyan Photography)

If one had not seen this band live, one would think that with the name The Clementines, this would be a roots country or bluegrass band. When you cue up the first song of their new EP Someday/Over, the first sounds you hear are a bass intro that sounds vaguely reggae-like, then the first song "Afraid" kicks in with a definite reggae feel. The next, "In Yesterday," changes the mood with some quiet folky acoustic guitar picking and understated vocal by Nicole Springer, then moves into a country shuffle. The addition of the rhythm section of Aaron Derrington and Travis Earnshaw has broadened the reach of this band, which started as an acoustic duo with Springer on vocals and guitar and Tim Jenkins on lead guitar.

The next song shifts gears once again with the instrumental portion of "Misery" sounding a little like middle-period Fairport Convention, with a driving beat and excellent vocals from Springer. This is followed by a quiet but passionate acoustic love song called "Only in The Darkness."

The EP ends with the sonic blast of the title track, which begins with some nice acoustic guitar and ethereal vocals, then builds to a galloping beat with lots of tasty lead guitar from Jenkins and a slight Spanish/flamenco feel.

Lots of bands lately are doing EP releases. Not only does this save them money, it's a good idea to keep new material coming out every few months in EP form instead of releasing a full-length album that would not likely be followed up for another year or so. This keeps bands in the public's eye (and ears) every few months with new releases, much like bands used to put out singles every three or four months back in the ‘60s. This new EP showcases The Clementines' versatility and works well as a nice introductory sampler for those not familiar with their work.

The Deli KC is helping present The Clementines’ album release show at Voodoo this Friday, May 9. Show starts at 8 p.m. The B’Dinas and Katy Guillen & the Girls will also be playing. Facebook event page. See below for a video of "In Yesterday," the first single off the EP.

--Barry Lee

Barry is host of KKFI 90.1's Signal To Noise Sundays at 8 p.m. During the day he's Station Manager at KKFI.

Sell music on Amazon at ReverbNation.com

May 07, 2014

Artists on Trial: Nikki and the Rooftop Punch

(Photo by Bittersweet Symphony Productions)

It seems like everyone wants to start a side project at some point. When a frontperson does it, the music usually sounds a whole lot like his/her band. Which is great, if you want to hear more of that. But every once in awhile, a combination of creativity erupts into a completely different style. Nikki and the Rooftop Punch—the brand-new duo of Nicole Springer and Tim Jenkins of The Clementines—is plain and simple stripped-down garage rock, in the best possible way. Jenkins electrifies his guitar sound with catchy, bluesy riffs, while Springer pulls a Phil Collins move, only with intense, raw, shattering vocals. We talk with Springer about the band’s imminent debut show (tonight!) and what’s to come.

The Deli: Down and dirty: 1 sentence to describe your music. What is it?

Nicole Springer: It's loud, raw, high-energy garage rock with a blues edge and a whole lot of attitude.

The Deli: Why did you decide to do this project and how does it differ from The Clementines?

Nicole: Rooftop was an accident waiting to happen. Due to increased boredom, we both decided to form a fake garage band, with Tim on electric and myself playing the most disastrous drum kit of all time. We ended up enjoying it and upon playing it for a few people, realized it was something others could enjoy too. It's way different than The Clementines. It's more in your face, less emotional, more aggressive. It's just an entirely different side of both of us, especially me.

The Deli: Nikki and The Rooftop Punch is an interesting band name. What's the story behind that?

Nicole: Long story short, Tim punched me in the face once (supposedly an accident) and we happen to enjoy rooftops. Weird combo. But it works.

The Deli: You haven’t even played your first show yet and you’ve already recorded a few songs. Tell us about that.

Nicole: We have three songs recorded that we aren't sure just what to do with yet. I think we might hold off on releasing anything until we see how far our songwriting goes, meaning if we write enough material for a full length. If not, we will release an EP. We shall see.

The Deli: Nicole, you play drums in this project and sing all the vocals. Not a lot of drummers do that. Is it a challenge for you?

Nicole: Singin' and drummin'. It is definitely a challenge. I've been playing drums for a few months and for some stupid reason, I've written my vocal parts to be very difficult. I guess I like stressing myself out. Really though, It's a whole new musical experience for me, but I really love it… especially the challenge aspect of it.

The Deli: What does supporting local music mean to you?

Nicole: Supporting local music means going to see shows, encouraging musicians in general. It means everything to a small-city band to have the support from others, fellow musicians, or otherwise. I know we wouldn't be here without the support we've received. It's crucial and we love giving it back to other bands as well.

The Deli: Who are your favorite local musicians right now?

Nicole: I enjoyed the live set I saw of The Quivers. So good. Trampled Under Foot is incredible. Cadillac Flambe and Grand Marquis are always amazing. Tim really digs Gentleman Savage. We've seen so many good bands though. We could go on forever.

The Deli: Who are your favorite not-so-local musicians right now?

Nicole: I really dig the band Haim, the most recent Tegan and Sara album, and then just basically the same stuff I've loved for years. Ben Folds Five, Feist, System of a Down, Radiohead, Rilo Kiley. Tim loves him some Jethro Tull. It's an obsession.

The Deli: What is your ultimate fantasy concert bill to play on?

Nicole: One where we're headlining? Ha. I think we'd be a good fit to open for The Black Keys or White Stripes. That'd be pretty freaking incredible. Fantasy, indeed.

The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?

Nicole: Tim and I will split this one. Tim would have Ian Anderson and David Gilmour, and I would have Janis Joplin and Judy Garland. Can't deny my love for Judy.

The Deli: All right, give us the rundown. Where all on this big crazy web can you be found?

Nicole: We can be heard/found at Reverb Nation or on Facebook. Our two available tunes can be found on Reverb.

The Deli: What other goals does Nikki & The Rooftop Punch have for 2013?

Nicole: First goal is to get through our first ever show in one piece. After that, we just want to spread the music, rock as many venues as we can, maybe take this gig out on the road for a few shows. We think this band is pretty fun and might be worth us exploring further.

The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?

Nicole: Just keep on supporting local music! Also, take chances with the music you want to create, even if it seems ridiculous initially (like being an inexperienced singing drummer). Do what you love and do it shamelessly!

If you’re curious (and you should be), check out Nikki and the Rooftop Punch’s debut show tonight at Coda. Tim and Nicole play at 9, followed by The Heavy Figs and The Monarchs. Facebook event page. You’ll also have a chance to see them at The Bay in Warrensburg on August 31 and The Riot Room on September 18. What are you waiting for?

--Michelle Bacon

Michelle is editor of The Deli Magazine - Kansas City, and also holds down half the rhythm section in Drew Black & Dirty Electric and Dolls on Fire. She thinks you should listen to “Throw It Down” by Nikki and the Rooftop Punch cuz there’s some preeeettty sweet tambourine on it. Oh, and the rest of the song is totally not awful.

Share this story on Facebook

Learn how to get your song on itunes at ReverbNation.com

August 16, 2013

The Clementines

CD Name:

The Clementines

title_color:

green

Music Link:

http://www.reverbnation.com/theclementinesnicoleandtim

Album Cover URL:

https://sphotos-a.xx.fbcdn.net/hphotos-prn1/934055_463469520399973_2132217607_n.jpg

body:

<div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">The Kansas City music community continues to thrive and expand, something <i style="padding: 0px;">The Deli KC</i> is happy to support and report on, and this trend continues to build momentum with each passing year and each new album release. And by no means is this a boys-only club, of course; over the past several years there has been no shortage of great female singers in many genres: Abigail Henderson, Lauren Krum, Alicia Solombrino, Julia Haile, Danielle Schnebelen, and Shay Estes, just to name a half-dozen. These ladies can not only rock the mic—they do so fearlessly and effortlessly, providing a presence that is both captivating and unforgettable, and all are members of bands that bring great things to the stage whenever they’re on. There’s another name and another band vying for a place in your record collections, one that has been working the circuit, playing bars and clubs from Lawrence to Columbia and all points in between, and with the release of their full-length self-titled debut,<a href="https://www.facebook.com/theclementinesmusic?fref=ts" style="padding: 0px; font-family: Arial, Helvetica, sans-serif; font-weight: bold; text-decoration: none; color: rgb(0, 102, 153); font-size: 12px;">The Clementines</a> are ready for their well-earned time in the spotlight.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">The Clementines started as a duo in 2011 with founding members Nicole Springer and Tim Jenkins each playing acoustic guitars and using their time to hone their singing and songwriting chops. They added the rhythm section of <a href="http://kansascity.thedelimagazine.com/10163/on-beat-stephanie-williams" style="padding: 0px; font-family: Arial, Helvetica, sans-serif; font-weight: bold; text-decoration: none; color: rgb(0, 102, 153); font-size: 12px;">Stephanie Williams</a> and Travis Earnshaw the next year, a move that gave heft and [if I may use a technical term here] oomph to support the power of Springer’s mighty pipes. And while they may have a lead singer whose voice can turn walls into rubble at any given moment, Springer doesn’t simply lean on her internal volume control switch in an effort to overpower her listeners. In <i style="padding: 0px;">The Clementines</i> you’ll hear a great deal of control and command, as the music calls for presentation that runs from pensive to melancholy to victorious to daring to outright sassy. She’s got all the tools, and like any good carpenter or mechanic, she knows which tools to use and when to use them. No song features a delivery that seems out of place, and no mood is falsely presented.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">Any band with such a commanding presence at the front runs the risk of being overshadowed by that voice, or of being seen as “hangers-on” who are only along for the ride because of the talent of the lead singer, not because of their own abilities. There is no such worry with The Clementines, as this is truly a band with quality at all positions. Jenkins has adapted and enhanced his guitar playing to accommodate both duo and quartet arrangements; his skills have progressed greatly since I first saw the two-piece version of the band on the recordBar stage a couple years ago. Earnshaw lends a stalwart bass presence, never pushing his way into the spotlight, but never fully conceding to the twin-mostly-acoustic-guitar sounds which he augments in fine fashion. His ability to set a warm, comfortable foundation to the proceedings is crucial to the cohesiveness of the music. And Williams is simply described in the band’s bio as “bad-ass drummer”; that’s about as spot-on as it gets. <i style="padding: 0px;">The Clementines</i> features a wide array of genres and influences—rock, soul, jazz, Americana, gospel, blues—and their rhythmic timekeeper doesn’t miss a beat (literally and figuratively) throughout, keeping lock-step with her bandmates at every turn. If playing music with such a dominant frontwoman is a challenge, then Jenkins, Earnshaw, and Williams are more than up to the task throughout the album’s fourteen-track playlist.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">A few CliffsNotes-sized looks at some of those tracks:</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Rough Times” – The first single released by the band; Americana-rock sounds with an underlying jazz snarl. To say that acoustic bands can’t groove is ridiculous, and this track serves as Exhibit A of that argument.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Soul, Mind, Role, Survive” – The one electrified song on the album, with an added punch that gives it a ‘90s alt-rock vibe. A great change of pace.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Could Have Been” – A menacing slice of backwoods swamp-pop swathed in Southern-fried goodness. Undeniably catchy and hooky.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Say” – The most intricate playing by all four members, showing off the instrumental skill sets that make this band a quadruple threat.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Responsibility” – This may be my favorite track on the album; Springer’s delivery goes from delicately soft to passionately earnest without breaking stride.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Sightless” – Acoustic rock doesn’t get any better than this, pure and simple. Maybe *this* is my favorite track?</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Should I” – A delicate arrangement that made me think <i style="padding: 0px;">Western madrigal</i>, which I can’t explain but it just sounds like it fits. If you’re a fan of Calexico (and you should be), this is a track for you.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">“Moved” – A textbook closing track musically and one of the most lyrically powerful, an expression of longing and love lost; a very courageous move on the part of the band to close with a song that does not offer the listener the prototypical “happily ever after” ending. Okay, THIS might be my favorite track.</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">We all like to see friends and neighbors succeed, and when they’re willing to bust their asses to make good things happen for themselves, it’s all the more rewarding. Bands like Making Movies, She's A Keeper, and The Latenight Callers are proof that constant work, abundant publicity, and outright ability will get your music heard. The Clementines fit that bill, with an increasing number of shows over the past few months which have led to their self-titled album being a reality—and a reality which you should tune in to. As Springer sings in “Bayou”, the album’s opening track: “I leave it up to you when we're at the bayou / to renew my existence, to sanctify my consciousness.”</span></div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"> </div> <div style="padding: 0px; font-family: Arial, Helvetica, sans-serif; line-height: 16px; text-align: justify;"><span style="padding: 0px; font-size: 10pt;">Existence renewed, consciousness sanctified—and efforts very much appreciated.</span></div> <div><span style="padding: 0px; font-size: 10pt;"><br /> </span></div> <div><em>--Michael Byars</em></div>

June 06, 2013

Album review: The Clementines - The Clementines

(Photo by Elise Del Vecchio at Lighted Stage Photography)

The Kansas City music community continues to thrive and expand, something The Deli KC is happy to support and report on, and this trend continues to build momentum with each passing year and each new album release. And by no means is this a boys-only club, of course; over the past several years there has been no shortage of great female singers in many genres: Abigail Henderson, Lauren Krum, Alicia Solombrino, Julia Haile, Danielle Schnebelen, and Shay Estes, just to name a half-dozen. These ladies can not only rock the mic—they do so fearlessly and effortlessly, providing a presence that is both captivating and unforgettable, and all are members of bands that bring great things to the stage whenever they’re on. There’s another name and another band vying for a place in your record collections, one that has been working the circuit, playing bars and clubs from Lawrence to Columbia and all points in between, and with the release of their full-length self-titled debut, The Clementines are ready for their well-earned time in the spotlight.

The Clementines started as a duo in 2011 with founding members Nicole Springer and Tim Jenkins each playing acoustic guitars and using their time to hone their singing and songwriting chops. They added the rhythm section of Stephanie Williams and Travis Earnshaw the next year, a move that gave heft and [if I may use a technical term here] oomph to support the power of Springer’s mighty pipes. And while they may have a lead singer whose voice can turn walls into rubble at any given moment, Springer doesn’t simply lean on her internal volume control switch in an effort to overpower her listeners. In The Clementines you’ll hear a great deal of control and command, as the music calls for presentation that runs from pensive to melancholy to victorious to daring to outright sassy. She’s got all the tools, and like any good carpenter or mechanic, she knows which tools to use and when to use them. No song features a delivery that seems out of place, and no mood is falsely presented.

Any band with such a commanding presence at the front runs the risk of being overshadowed by that voice, or of being seen as “hangers-on” who are only along for the ride because of the talent of the lead singer, not because of their own abilities. There is no such worry with The Clementines, as this is truly a band with quality at all positions. Jenkins has adapted and enhanced his guitar playing to accommodate both duo and quartet arrangements; his skills have progressed greatly since I first saw the two-piece version of the band on the recordBar stage a couple years ago. Earnshaw lends a stalwart bass presence, never pushing his way into the spotlight, but never fully conceding to the twin-mostly-acoustic-guitar sounds which he augments in fine fashion. His ability to set a warm, comfortable foundation to the proceedings is crucial to the cohesiveness of the music. And Williams is simply described in the band’s bio as “bad-ass drummer”; that’s about as spot-on as it gets. The Clementines features a wide array of genres and influences—rock, soul, jazz, Americana, gospel, blues—and their rhythmic timekeeper doesn’t miss a beat (literally and figuratively) throughout, keeping lock-step with her bandmates at every turn. If playing music with such a dominant frontwoman is a challenge, then Jenkins, Earnshaw, and Williams are more than up to the task throughout the album’s fourteen-track playlist.

A few CliffsNotes-sized looks at some of those tracks:

“Rough Times” – The first single released by the band; Americana-rock sounds with an underlying jazz snarl. To say that acoustic bands can’t groove is ridiculous, and this track serves as Exhibit A of that argument.

“Soul, Mind, Role, Survive” – The one electrified song on the album, with an added punch that gives it a ‘90s alt-rock vibe. A great change of pace.

“Could Have Been” – A menacing slice of backwoods swamp-pop swathed in Southern-fried goodness. Undeniably catchy and hooky.

“Say” – The most intricate playing by all four members, showing off the instrumental skill sets that make this band a quadruple threat.

“Responsibility” – This may be my favorite track on the album; Springer’s delivery goes from delicately soft to passionately earnest without breaking stride.

“Sightless” – Acoustic rock doesn’t get any better than this, pure and simple. Maybe *this* is my favorite track?

“Should I” – A delicate arrangement that made me think Western madrigal, which I can’t explain but it just sounds like it fits. If you’re a fan of Calexico (and you should be), this is a track for you.

“Moved” – A textbook closing track musically and one of the most lyrically powerful, an expression of longing and love lost; a very courageous move on the part of the band to close with a song that does not offer the listener the prototypical “happily ever after” ending. Okay, THIS might be my favorite track.

We all like to see friends and neighbors succeed, and when they’re willing to bust their asses to make good things happen for themselves, it’s all the more rewarding. Bands like Making Movies, She’s A Keeper, and The Latenight Callers are proof that constant work, abundant publicity, and outright ability will get your music heard. The Clementines fit that bill, with an increasing number of shows over the past few months which have led to their self-titled album being a reality—and a reality which you should tune in to. As Springer sings in “Bayou”, the album’s opening track: “I leave it up to you when we're at the bayou / to renew my existence, to sanctify my consciousness.”

Existence renewed, consciousness sanctified—and efforts very much appreciated.

Be sure to join The Clementines this Saturday, June 1, as they release their self-titled debut album at The Brick. They will kick off the show at 9 p.m., playing the album in its entirety. Root and Stem will perform afterwards. Facebook event page.

--Michael Byars

Michael Byars wrote most of this with one hand, as his other arm has gone numb from his editor’s constant punching—but he thinks she’s pretty cool anyway. [Editor's Note: She is. *punch*]

Share this story on Facebook

Free Music Player for Myspace at ReverbNation.com

May 31, 2013