An EP can serve several purposes — a stopgap release between full-length releases; fresh merch to offer at shows; a teaser for more material down the road; or an exploratory release to test the waters for a response to a new band or an existing band's new direction (among others).
In any event, whatever a band's reason might be for offering up a small dose of their material for reduced consumption, the inviolable rule of the EP is simple — always leave the listener wanting more. If you elicit even a modicum of boredom or disinterest in a spare handful of tracks, you're not likely to entice listeners to take a chance on a full-length or get them out to a show, which is, as stated, sort of the point.
Luckily, no such lapse is even remotely evident on Real Far East, Saturn Batteries' second EP in just over a year. Since the Cincinnati bands formation in 2010, guitarist/vocalist/lyricist Brad Gibson — who's put in bass time with the likes of Charlie Hustle, Young Heirlooms and Walk the Moon — has presented his brainchild as a trio, quartet and quintet along the way, all in the service of Beatlesque Pop filtered through the New Wave aesthetic of the Police and XTC and adrenalized with a heart needle full of the Pixies' jittery satellite Rock.
On last year's Ever Been in Love? Gibson and the Batteries du jour hewed a little closer to the John Lennon/Frank Black strands of their DNA, but Real Far East finds the freshly minted foursome (Gibson, guitarist Brad Rutledge, drummer Justin Sheldon, bassist Archie Niebuhr) drifting more toward the Paul McCartney/Andy Partridge end of their gene pool. And while the Batteries soften the edges ever so subtly and polish their surface to a slightly more reflective shine on Real Far East, these refinements don't diminish the band's energetic charm in the least.
One of the reasons for that is the Batteries have never forsaken one direction for another, preferring to incorporate differing elements into their foundational sound in an effective display of their diversity. The soulful "It's Not About the Money" and propulsive "Overtime" are both Pop gems that swing and swagger in a groove that isn't far removed from the benchmarks established by Walk the Moon in their march toward global domination. "You Really Live Twice" features previous members Rob Barnes and Rich Shivener, naturally hearkening back to the moody energy of Ever Been in Love? "Every Last Time" updates '60s/'70s AM Pop to the 21st century, while "Cherry Times" is a solid hybrid of the sweet and dissonant Pop that has characterized everything that Saturn Batteries has done well to this point in their history.
Real Far East shows that Saturn Batteries can have fun within their core Pop/Rock sound and clearly points the way toward a bright future for the quartet going forward.
Saturn Batteries celebrates the release of Real Far East tonight (Friday) at The Drinkery in Over-the-Rhine (click here for details). Below is the EP track “Every Last Time”; click the player or here to sample/download the entire release.
The combined musical experience of the members of the Denim Road Band easily eclipses the century-and-a-half mark and encompasses every conceivable type of band and genre of music; local show/dance/cover outfits to nationally recognized entities playing Classic Rock, Blues, R&B, Jazz, Fusion, Top 40 Country, Funk and everything between and beyond.
DRB's sense of history and classicism invests their original material with the same soulful expanse and crisp Pop approach of the defining bands (The Doobie Brothers, Hall & Oates, Santana, Steely Dan) that have provided DRB with inspiration and a template for success.
There is certainly a formula to what the Denim Road Band does live and in the studio, but there's a huge difference between having a formula and being formulaic. On their third album, the silky smooth Blame It On the Stars, DRB hits the same markers as its previous discs (DRB's eponymous 2009 debut, 2010's Back to Mexico), utilizing George Harp's crystalline-yet-earthy vocal range, Craig Ballard's sinewy percussion and the almost impossibly adaptable journeymen rhythm section of bassist Robbie Lewis and drummer Kevin Ross to maximum groove effect.
Woven within that tightly knit fabric is the impeccable guitar work of Jim Zuzow, who channels everyone from Tom Johnston to Walter Becker to Steve Miller to the guitar legacies of the Eagles and Santana, creating a sound that is reminiscent of past Classic Rock glories
but delights in advancing the flag a little farther up the hill. Denim Road Band sets up shop at the corner of passion and professionalism and delivers the sophisticated goods with a showman's flair and a fan's devotion.
For more on Denim Road Band, click here.
Last night, music fans at venues in four cities around the region (Newport, Columbus, Indianapolis and Lexington) got a sneak peek at some of the artists slated to appear at this year’s Bunbury Music Festival, which returns to Cincinnati’s riverfront parks July 11-13.
Last night, fans at the launch events tweeted out some of the lineup as it was announced (and some smart ass started a fast-spreading rumor that Vampire Weekend was playing; they are not). This morning, the lineup was released to the general public. It was previously announced that Fall Out Boy, Paramore and New Politics would be bringing their summer tour to Bunbury; those groups are scheduled to play the fest on July 12.
Here are the local and national artists that will be joining them at Bunbury’s third annual event (an additional headliner will be announced soon):
The Flaming Lips
Young the Giant
Fitz and the Tantrums
Red Wanting Blue
The Lighthouse and the Whaler
Fly Golden Eagle
Lamps and Voids
Family and Friends
Let It Happen
Kopecky Family Band
G.Miles and the Hitmen
Brent James & the Vintage Youth
The Fanged Robot
The Upset Victory
J. Roddy Walston & The Business
Lily & Madeleine
Brick + Mortar
Yellow Paper Planes
Aaron Lee Tasjan
Here Among the Mountains
Bronze Radio Return
Daniel in Stereo
Today is the last day to buy Bunbury tickets at their current rate; the prices increase at midnight. Right now, $130 gets you a three-day pass ($325 if you’d like the VIP experience) and one-day tickets are $55.
One of the Queen City’s greatest musical exports, The Afghan Whigs, have just unveiled the music video for their new single, “Algiers.” The track is taken from the band’s forthcoming Do to the Beast album, the Whigs' first all-new full-length release in 16 years. The album is due for release April 15 on Sub Pop Records, the label that first exposed the band to a worldwide audience in the early ’90s.
During the Whigs’ global reunion tour a couple of years ago, the band released a pair of singles (covers of songs by Frank Ocean and Marie Queenie Lyons), but this is the first new original tune to surface since "Magazine" and "I'm A Soldier,” both recorded for the 2007 Rhino Records retrospective, Unbreakable.
Here is the intense, spaghetti western-inspired video for the new track:
The band previously announced appearances at the Coachella Valley Music & Arts Festival on April 11 and April 18. Several other tour dates on the west and east coasts have been announced; click here for the rundown (no Ohio/Midwestern dates yet).
Pre-orders for the 10-track Do to the Beast are open at iTunes and here directly through Sub Pop. Pre-order the album on iTunes and receive an instant download of “Algiers.” Pre-order the LP on Sub Pop to receive the “Loser Edition” on colored vinyl.
Whigs frontman Greg Dulli chatted with Entertainment Weekly about the new Whigs' happenings for an article posted online today. Meanwhile, Rolling Stone has the details on some of the musicians on Beast and why original guitarist Rick McCollum is not on the new album.
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.