Beginning Feb. 27, Northside’s The Listing Loon will host a new onstage series called Folk & Fiction where music and writing will be interwoven to bring together the audiences of various genres.
The monthly event, each final Thursday, was created in collaboration with Brooks
Rexroat, Matt Mooney and Margaret Darling. The trio was at an acoustic show
when they began talking about the limited places available for Folk musicians
and fiction writers to share their work.
“The two groups have the same audience, so that was kind of an ‘ah-ha’ moment for us,” Rexroat says.
They decided to create a place where these musicians and writers could connect, as well as their audiences. Thus, Folk And Fiction was born.
Folk & Fiction is open to any genre of writing and music, but has a heavy focus on, well, Folk music and fiction writing. This gives prose writers a chance to share what they are working on as well as Folk musicians who take just as much pride in their lyrics.
"There is a limited audience for any artists endeavor,” Rexroat continues. “Even those excited only have a percentage of time for support... It's much more efficient to share an audience, rather than battle for it.”
The first event, at 8 p.m. Thursday, Feb. 27, will double as the Cincinnati launch party for the book, Best of Ohio Short Stories Vol. 1. From hundreds of submissions, 18 were chosen to be featured in the book. Four of those writers will be on stage sharing their work in conjunction with musicians.
For the first event, each musician will have two 15-minute sets with the writers reading their works in between. The second event will feature Jacinda Townsend, the author of Saint Monkey, which will be released Feb. 24.
Feb. 27 Lineup:
Brad Pauquette (Columbus, Ohio)
Brooks Rexroat (Cincinnati)
Lin Rice (Columbus, Ohio)
Heather Sinclair Shaw (Newark, Ohio)
Nick Dellaposta is a graphic designer, web developer, guitarist, vocalist and songwriter for Cincinnati/Dayton band To No End. If he did brain surgery on the side, he'd be Buckaroo Banzai.
And for a guy with little discernible local profile, Dellaposta has a metric ton of history that begins with learning guitar and writing songs at age 14. His father Bob fronted the Broken String Band and the pair gigged together when Dellaposta the younger was a college student, which led to eventual studio experiences.
Dellaposta formed To No End in 2012, leaning more toward an emphasis on the Dayton market; shortly after the band's first gig, Dellaposta took them into the studio to record their debut album, last year's Curio, a rootsy, Blues-drenched work that tapped into the Kenny Wayne Shepherd/Black Crowes/Gov't Mule end of the spectrum.
To No End's sophomore album, Peril & Paracosm, comes almost exactly a year after the band's debut, trumpeting a slight change in line-up and a new and darker sonic vision. Along with original drummer Patrick Lanham, new bassist Eli Booth and contributing guitarist/now full-fledged member Grant Evans, Dellaposta has invested TNE with an expansive and moody vibe that mines '70s Hard Rock like Budgie and UFO ("The Afterlife," "Bad Apple") while sharpening everything to a contemporary razor's edge.
Peril & Paracosm finds Dellaposta exploring darker lyrical themes which naturally results in a brooding and muscular soundtrack that is both an extension of and departure from Curio's brighter sonic perspective. There's also a slightly more psychedelic feel to some of the tracks on Peril & Paracosm, and when TNE drifts into a rootsier Gov't Mule direction this time out ("Good Intentions," "When the Time Comes"), there seems to be a greater conviction, a more desperate passion and a deeper understanding of both the influence and its translation.
We can only hope that the release of Peril & Paracosm signals To No End's expanded local presence because this kind of loud is always welcome.
Below is Peril & Paracosm track "Good Intentions." For more on To No End, click here.
Besides being rid of this depressing winter weather, there's another great reason for local music fans to be excited about the coming spring. One of the more celebrated and acclaimed bands in and outside of Cincinnati, Wussy, will release its new album, Attica, on May 6. The recording will be the band’s fifth full-length of all new material and is once again being issued on the local label Shake It Records.
Below is a “rough mix” of the Attica track “To the Lightning.”
Shake It has also announced that Wussy — which scored both Artist of the Year and Album of the Year (for Strawberry) honors at the 2013 Cincinnati Entertainment Awards — will have its excellent 2007 album Left for Dead re-issued on “baby blue” vinyl in honor of 2014’s international Record Store Day (April 19).
Click here for Wussy’s comprehensive website for more info and to sample music from throughout the band’s entire career.
Cincinnati Hip Hop MC Santino Corleon’s latest music video, “Night Still Young,” is one of the five music videos by emerging artists currently featured in MTVu.com’s “The Freshmen” competition. If the 2013 Cincinnati Entertainment Awards nominee beats out the other nominees in the weekly contest, the clip will be put into “on-air rotation” on MTV’s television networks.
Click here to check out the clip on MTVu.com and to vote now (and repeatedly — there appears to be no voting limits). Voting ends this Friday at 2 p.m.
The track “Night Still Young” is featured on Corleon’s most recent mixtape, Keep the Change, which is available for free download here. Below is the audio for “Night Still Young.”
A satellite event to the Cincy Blues Society’s huge outdoor, summertime Cincy Blues Fest, the Winter Blues Fest — which returns to The Phoenix (812 Race St., Downtown, thephx.com) tonight and tomorrow — has truly grown into its own. This year’s lineup features two of the fest’s biggest national headliners yet.
Celebrated Blues/Rock singer/guitarist Tinsley Ellis performs in the venue’s third floor Grand Ballroom on Friday at 9:45 p.m. Check out Ellis’ “Kiss Of Death,” from his recently released Midnight Blue album, below:
Accomplished singer/songwriter Janiva Magness performs in the Grand Ballroom on Saturday at 9:15 p.m. (For more about Magness, read Brian Baker’s preview from this week’s CityBeat). Here’s a clip of Magness and her band performing “I Won’t Cry,” which won her and co-writer Dave Darling “Song of the Year” honors at the Blues Music Awards (one of many Mangess has won over the past several years).
Below is the full lineup (subject to change). Click each artist’s name for more info.
Third Floor Grand Ballroom
6:30-8 p.m.: G. Miles & The Hitmen
8:15-9:30 p.m.: Greg Schaber Band
9:45-11:15 p.m.: Tinsley Ellis
11:30-12:45 p.m.: The Blue Birds
Second Floor Cincinnati Room
6:30-7:45 p.m.: Bob Dellaposta
8-9:15 p.m.: Jimmy D. Rogers
11 p.m.-12:45 a.m.: Dave Muskett Duo
Second Floor Archway Ballroom
7-8:15 p.m.: Blue Sacrifice
8:30-9:45 p.m.: The Juice
10:00-11:15 p.m.: Leroy Ellington Blues Band
11:30 p.m.-1 a.m.: The Blues Merchants
First Floor Presidents Room
6:15-7:45 p.m.: The Heaters With Ben Levin
10-11:15 p.m.: Ralph & The Rhythm Hounds
11:30 p.m.-1 a.m.: Ducttape & Dynamite
3rd Floor Grand Ballroom
6-7:30 p.m.: The Tempted Souls Band
7:45-9 p.m.: Doug Hart Band
9:15-11:15 p.m.: Janiva Magness
11:30 p.m.-12:45 a.m.: Johnny Fink & The Intrusion
Second Floor Cincinnati Room
6:30-7:45 p.m.: Brian Wallen
8-9:15 p.m.: Greg Schaber (Solo)
9:30-10:45 p.m.: TBA
11 p.m.-12:15 a.m.: The Twirlers
Second Floor Archway Ballroom
6:30-8 p.m.: Blues In The School Band
8:15-9:30 p.m.: Chuck Brisbin & the Tuna Project
9:45-11:15 p.m.: The SoulFixers
11:30 p.m.-12:45 a.m.: Jay Jesse Johnson
First Floor Presidents Room
6:15-7:45 p.m.: Little Red & The Rooster
8-9:15 p.m.: Ricky Nye Inc.
9:30-10:45 p.m.: Brad Hatfield Band
11 p.m.-12:45 a.m.: The Noah Wotherspoon Band
Tickets can be purchased in advance at cincybluesfest2014.brownpapertickets.com. Prices are $20 for one night or $32.85 for a weekend pass (there are smaller-than-usual service fees through the ticketing site). There will be food available and full-service bars throughout the venue.
Visit cincyblues.org for the full schedule, artist details, ticket links, deals for special room rates at the nearby Garfield Suites Hotel and more.
If you are even a marginal fan of Black Owls (whose members split time between Cincinnati and Granville, Ohio) and have not yet visited their Bandcamp page to purchase a copy of their recent recorded triumph, Wild Children (which came out late last year), off with you. I'll wait.
The Owls' fourth album is nothing less than the maturation of a supremely talented band that has been patiently waiting for the right pieces to fall into the right places almost from the beginning. The installation of drummer extraordinaire Brian Kitzmiller and the relocation of vocalist David Butler away from the drummer's chair and to the front of the stage was the first necessary shift, while adding second guitarist Brandon Losacker as a frenetic foil to Ed Shuttleworth's tightly coiled brilliance was inspired and equally required.
The bass position has been problematic only in its temporary nature; Nancy/National bassist Mike Brewer left to pursue his own thing, the thunderously wonderful Alan Beavers was forced from his role due to back issues and Goose four stringer Sammy Wulfeck was almost psychotically overextended and had to bow out; his work is all over Wild Children, a
tantalizing hint at what he brought to the Owls and further proof of his longstanding chemistry with Kitzmiller. (For the record, both Beavers and Brewer guest on Wild Children and remain welcome alumni in the Owls' extended family.)
On the whole, Wild Children is an expansion of the Owls' sonic mission statement of cross-pollinating early '70s-era Glam (see Bowie/Mott/Marc Bolan) with late '70s-era New York Punk (via Tom Verlaine's Television, Richard Hell's Voidoids and Lou Reed's simple fury). A good many of the songs on Wild Children have been worked out in live sets over the past year or so and will be familiar to anyone who has haunted the band's numerous local appearances; the effervescently charged "Incandescent Vultures," the melodically moody "She Invented Air," the propulsive and sinewy title track, produced into a beefy studio anthem. There's even a re-recording of "Julias Morningstar," one of the Owls' most recognizable and popular tracks from their 2008 debut, Lightning Made Us Who We Are. Wild Children shows that the Owls are gelling nicely and becoming even more comfortable and confident in the brilliant niche they've created for themselves.
And while Wild Children is patently excellent and an absolute necessity, perhaps even more exciting is the two-track glimpse into the Owls' future just revealed by Kitzmiller. A result of recent sessions featuring former Doc & the Pods/Roundhead four-stringer Kip Roe, an absolute prince of a human being and the perfect piece to complete the Owls' puzzle, the two songs find the quintet sounding less like the brilliant sum of their influences and more like a blazingly original band that has effectively incorporated their heroes into their creative vision without showing a seam
or dropping a stitch. "Gasoline" is a hard-charging, manic and relentless three minute thrill ride (and a prime candidate for the first single from the album that it will eventually crown), while "Rook" muscles along with the shivering, shimmering energy that has defined the Owls' best work over the past six years. These two as-yet-unmastered tracks show Black Owls evolving into a focused unit of astonishing power and unlimited potential.
More. Soon. Please.
The Master Class with Synyster Gates of Avenged Sevenfold Contest, presented by Guitar Center, was a nationwide search to find the country’s most talented and creative guitarists. More than 1,500 contestants downloaded the provided signature Avenged Sevenfold backing tracks of their choice, to which they were challenged to re-write and add their own original guitar performance.
The competition was assessed in two parts: the
popularity of fan growth over social media and the skill of the contestant’s
performance, originality, style and technique by a panel of judges.
For his entry, Puthoff wrote and performed a refreshing duo combining both acoustic and electric guitar. The unique marriage of his classical guitar knowledge with his heavy-metal background worked in his favor, as it was not only a fan favorite, but was hand chosen by Gates himself in the final decision making process.
“It truly is a dream come true,” Puthoff says. “When
I got the call that I had won, my heart dropped. I was completely speechless.
With Avenged Sevenfold’s City of Evil album artwork inked on Puthoff’s forearm, it’s evident that the group is his favorite band. The seductive dark tone of the Hard Rock/Metal band allured Puthoff in the sixth grade and the rest was Rock history.
“I always admired the band’s extreme uniqueness and
use of tonality,” Puthoff says. But it was Gates’ rapid riffs and rhythms that
mesmerized then-12-year-old Puthoff, making him his ultimate guitar hero. “He’s
the reason why I wanted to play and get good at guitar,” he says.
In addition to the trip, which has been delayed due to weather, Puthoff won a Schecter Synyster Gates Special electric guitar, a behind-the-scenes tour of the Schecter factory and an Ernie Ball accessory prize pack. Although the bells and whistles are an added bonus, he’s really just looking forward to meeting and learning from his idol. “I really want to take in everything he teaches us,” Puthoff says.
every piece of advice he can get, especially when it comes to how Gates got his
start and achieved success. As lead guitarist of his own band, The Requiem, Puthoff is looking
to use this trip as an opportunity to get an insiders point of view on how to
make it in the music industry.
Puthoff and the other four members of The Requiem have been working hard to make a name for themselves here in Cincinnati. Performing at venues across the Tristate area and winning second place in a local battle of the bands competition, they’ve already built up a heavy amount of fan support and are currently working on recording and releasing their first album.
Although Puthoff’s skilled playing looks effortless,
he’s been perfecting his craft and technique for over a decade. Fueled by
countless hours of practice, dedication and hard work, he’s always strived to
be the very best. At age 8, Puthoff started taking guitar lessons at Keller
Music on the Westside of Cincinnati. In 2005, when the owner wanted to sell the
store, Puthoff’s parents stepped in to purchase and take over as owners. As a
Westside favorite for more than 40 years, they wanted to keep the business
running so their son and daughter could continue to take lessons at their beloved
childhood music domain.
In 2012 Puthoff joined forces with the family to become a teacher at Keller Music. The new and improved business recently renovated and expanded their store where they sell retail and offer lessons in guitar, bass guitar, drums, piano, mandolin and ukulele to adults and children of all ages. “The youngest student I taught was 5 years old, and the oldest was 75,” Puthoff says.
Although Puthoff enjoys teaching, his real love is
performing. His dream is what any musical artist’s is: trying to make it big.
He hopes for The Requiem to catch their big break, move to the innovative land
of California and tour the world as full-fledged signed musicians. Although the
starry-eyed guitarist has dreams of his “big breakthrough,” it truly is the
music that ignites his passion and love for what he does.
“Music to me is a shoulder to cry on or a friend to celebrate with that will always be there for me,” he says. "It’s one of the very few ways where I can put my true emotion into something and hopefully have others feel the same way I feel.”
Check out Puthoff’s winning entry video here.
It has been much too long since Patrick Hennessy and any viable version of The Tigerlilies have committed to a studio regimen and the clear goal of emerging with something/anything approaching the scorching delight of their first three discs, 1992's Deeper, 1997's Space Age Love Songs and 2003's Ceci N'Est Pas Pop. Hennessy's involvement with The Fairmount Girls began in 2004, a span of time that nearly equals the gap between the Tigerlilies' third release and its latest and perhaps greatest recorded document, In the Dark.
Vocalist/guitarist Hennessy, his drumming/singing brother Steve and bassist Brian Driscoll were joined by guitarist/vocalist Brendan Bogosian about midway through The Tigerlilies' long studio drought; Bogosian even did a little moonlighting of his own with Kry Kids. Somehow, the quartet managed to motivate themselves to pen a dozen new Tigerlilies classics and set to work with Culture Queer's Jeremy Lesniak at the console to create In the Dark. In fact, when I interviewed Culture Queer a little over a year ago, Lesniak was in the process of digitally tweaking In the Dark and promised that it would be their best album to date. That has turned out to be a promise well kept.
While The Tigerlilies are enamored with Rock's Glam period and Punk traditions, the band tends to filter it all through a greater love of Brit Pop in general, not to mention a proclivity toward a more defined Power Pop direction, resulting in a sound that suggests Cheap Trick and Husker Du teaming up for a Clash tribute. That position is made perfectly clear on In the Dark, from full throttle disc opener "Hold on Tight" to the melancholy joy of "Don't Let It Get You Down" to the Husker/Trick jittery jangle of "Sweetheart" and the anthemic Velvet Crush-like barnstorm of "Some Things Are Meant to Be."
In the Dark isn't all bash-and-crash, with more than a few relatively quiet moments (the Beatlesque "Pull You In," "Five Will Get You Ten," the title track) offered as a bit of a breather, but even at their most sedate, The Tigerlilies bristle with an undeniable love of chiming Pop spiked with a bracing dose of melodic Punk.
The Cincinnati Entertainment Awards ceremony/party returns for its 17th annual celebration of the Greater Cincinnati music scene this Sunday at Madison Theater (730 Madison Ave., Covington, madisontheateronline.com). The show is open to music fans of all ages and kicks off at 7 p.m. (Doors open at 6 p.m.)
This marks the first year the CEAs have gone up against that OTHER music awards show, The Grammys (made possible by the CEA ceremony’s move from November to January last year). Don’t worry — you can DVR The Grammys or check out the best bits later online.
Along with the presentation of awards in 19 categories and lots of fun planned by first-time host (and CityBeat Arts & Culture Editor) Jac Kern, this year’s CEAs will feature more live performances than ever. The show will open with a secret — an all-star crew going by the name Saint Ain’t Mangled Angels. There will also be a special appearance by Folk trio The Tillers, who will pay tribute to their former bassist, Jason Soudrette, who passed away last year. Rounding out the great performance lineup are 2014 CEA nominees DAAP Girls, The Almighty Get Down, Moonbow, Valley High, Honey & Houston, The Yugos and The Upset Victory. (Check out all of this year's nominees here.)
Immediately after the CEA show, ticket holders are invited to attend the famous/infamous after party at BLDG (30 W Pike St., Covington, 513-491-4228). Indie/Electronic band Dark Colour will perform and Melissa Fairmount and Dana Hamblen of The Fairmount Girls will once again be doling out the “Fashion Trashies,” special handmade awards given to the best/worst/weirdest dressed CEA attendees (so be sure to look your best/worst/weirdest on the red carpet!).
Tickets to the CEA show are available at cincyticket.com for $20 (they’ll be $25 at the door). Proceeds benefit the Cincinnati USA Music Heritage Foundation. Also available at cincyticket.com are special VIP tickets. For $40, VIPs get some goodies from the Heritage Foundation (including a membership), food and drinks, private seating, performances by DJ squad Selectas Choice and more.
For those who can’t make it Sunday, follow @CityBeatMusic on Twitter to find out who wins what live as the awards are handed out.
Click below to check out this year’s nominees in first time category, Best Music Video. The videos will be shown on the big screen at the Madison a half hour before the 7 p.m. start time.
Five years ago, Matt Baumann was exploring the fringes of avant garde Jazz and creating sparse Ambient soundscapes with nothing more than his alto/tenor saxophones (he occasionally duoed with friends Eric Barnett and Jim Feist, but largely worked on his own) and a vision of crafting a quietly powerful body of work. At the time of our last interview, in late 2008, Baumann namechecked all the right Jazz influences — John Coltrane, Albert Ayler, Jan Garbarek — but he also ticked off a number of singer/songwriters whose work had been more inspirational than influential, from Warren Zevon and Tom Waits to Jason Molina and David Bazan, saying that he attempted to channel their passion and not necessarily their method of expressing it.
In 2011, disillusioned with the local Jazz scene, Baumann opted for the singer/songwriter route, learning to play the plectrum banjo but maintaining his lone wolf performing status. That may well have been Baumann's inspiration for adopting the nom de plume of WolfCryer, as well as his desire to begin a fresh new direction.
His acclaimed eponymous debut EP dropped in 2012 and he's been steadily working the Folk/Americana scene ever since, but the last few months have been especially productive with the release of a trio of evocative, emotionally engaging and typically atmospheric EPs. The first,The Long Ride Home, dropped quietly last September and showcased a new WolfCryer of sorts, as Baumann added acoustic guitar and harmonica to an arsenal already loaded with melancholy melodicism ("Roll Call of Ghosts") and intelligent wordplay ("Never Carry More Than You Can Hold").
The next two WolfCryer EPs, sporting four tracks each, have come in fairly rapid succession; Hell's Coming Down came out at the end of November and Wild Spaces dropped on New Year's Day, both generally following the template of The Long Ride Home and both stacked with highlights, like the lovely "Andromeda" and winsome "whiskeyheart" (where Baumann's banjo makes a welcome reappearance) on the former, the expansive "Lonely Country" and the heartrending "Better to Be" on the latter.
Baumann was a cluster recordist back in his Jazz days, and that aspect of his creative life hasn't changed much; on the heels of his last three EPs, released over the course of the last three months, his plans for the new year include both his debut and sophomore full-length albums (the proposed title track for the latter, "Box of Bones," is posted below). Originally slated for next month, WolfCryer's debut album, The Ivory in the Narrows, has been pushed to a summer release, but his Feb. 15 release show at Southgate House Revival remains intact as Baumann is re-releasing The Long Ride Home, which was never given an actual official release in the first place.
If you think a guy and a guitar is drab, give WolfCryer a shot; given the slightest opportunity, he'll build a quiet and beautiful new room in your heart.