Leaders at the Freedom Center are celebrating the institution's 10-year
anniversary with a new president, a revised budget, a growing number of
national and international partnerships and big plans for the future.
The CEAs are a much bigger production
than people might assume, and while it might appear that some of us up
there were winging it at times (definitely true), we think that’s part
of what makes the event great.
Mardou calls its music “Post Punk/Noise
Pop shit,” which is as good a descriptor as any. The fresh-faced local
quartet had a fruitful 2013,
dropping a pair of addictive EPs that recall myriad sonic antecedents (most
notably Joy Division and Sonic Youth) yet are intriguing enough on their
own to yield genuine excitement about what these guys might conjure
When Bridget Battle contemplates the
question of what she considers to be the high points of the past year
for Tweens, she flips through a mental Rolodex of memories that have
been forged with such volume and intensity it’s easy to see that they’ve
not yet been cataloged or quantified. “It’s so hard to go back and sometimes we don’t
even have time to stop and be like, ‘Whoa,’” she says.
Archer’s Paradox formed in 2012, and
it wasn’t long before the newly minted six-piece was making a name for
itself, grabbing a slot at the inaugural Bunbury Music Festival and
earning a growing number of converts.
In 2013, Belle Histoire’s Jane Smith planted new
musical seeds with her solo venture Decker while insisting Belle
Histoire was merely on hiatus. But when guitarist Austin Livingood
stepped up to the solo plate last summer and knocked his debut EP, The Weightless Anchor: By Plane (I), out of the park, the writing was on the wall.
Local music has been a priority at CityBeat
ever since the paper was founded almost 20 years ago. And a huge part
of that focus has been on new artists, the lifeblood of any strong music
scene. Judging by the new artists who grabbed
our attention in 2013, the future of the Greater Cincinnati music scene
is in very good hands.