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.
Last Sunday's Cincinnati Entertainment Awards show — which featured 19 awards for local musicians and nine top-notch performances — is available to watch now courtesy of the fine folks at ICRCTV. Now's your chance to watch, in the comfort of your home, the show about which people have said was "fun," "blerg," "entertaining," "disappointing," "amateurish," "too noisy" and "lacking in chairs"!
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.
Cincinnati Entertainment Awards 2014 Winners
Rock: Electric Citizen
Indie/Alternative: DAAP Girls
Metal/Hard Rock: Moonbow
Punk: The Dopamines
Folk/Americana: The Tillers
Bluegrass: Rumpke Mountain Boys
Country: Jeremy Pinnell and the 55’s
Singer/Songwriter: Molly Sullivan
World Music/Reggae: The Cliftones
Hip Hop: Buggs Tha Rocka
Electronic: Black Signal
Blues: Ricky Nye
Jazz: The Faux Frenchmen
R&B/Funk/Soul: The Cincy Brass
Best Live Act: Foxy Shazam
Best Artist Not Nominated: Young Heirlooms
Best Music Video: “8 Ball” by Valley High
Album of the Year: Fists of Love - I Sang My Heart Out to a Snake Once
New Artist of the Year: Tweens
Artist of the Year: Walk the Moon
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.
Saturday at Bogart’s you’ll have a chance to see 10 of Greater Cincinnati’s finest up-and-comers as CityBeat presents the first “Best New Bands” showcase. The event coincides with our “Best New Bands” cover story, featuring profiles and info on all of the performers — grab a copy if you haven’t.
Below is the lineup, which includes all six of the local acts nominated in the “New Artist of the Year” category and four other favorites, plus some audio/video previews to whet your appetite. Click the artists’ name to read CityBeat’s stories (and some great original photography) about each. The stories include links to the acts’ websites and more music.
The doors open at 7 p.m. Saturday at Bogart’s and admission is just $5. Performers will be featured on two stages, so it will be non-stop music all night.
7:30 p.m. Pop Goes the Evil
8 p.m. Molly Sullivan
8:30 p.m. Injecting Strangers
9 p.m. ADM
9:30 p.m. Mardou
10 p.m. Austin Livingood
10:30 p.m. Archer's Paradox
11 p.m. Little Lights
11:30 p.m. Tweens
12:15 a.m. Electric Citizen
Word has been trickling out over the past few weeks about a new Country music festival in Cincinnati, organized by Bunbury Music Festival founder Bill Donabedian. Today, the first four artists slated to appear at the inaugural Buckle Up Music Festival were announced. The festival is set for the weekend after Bunbury — July 18-20 — and will use the same grounds at Sawyer Point/Yeatman’s Cove along the Ohio River. (Think of it as Bunbury’s version of Coachella’s Stagecoach fest.)
The lineup will feature “upwards of 80 performers” and include both modern, commercial Country acts and variations on the Country theme — “folk, bluegrass, Americana, roots rock and more,” according to the press materials — something the initial lineup announcement reflects.
Legendary Country act Alabama (which for many years used the controversial Confederate Flag in its artwork, years before Kanye decided to reclaim it) and current Country hitmakers the Eli Young Band will be joined by up-and-comers J.T. Hodges (whose music has been described as “Country Soul with some Rock N’ Roll”) and eclectic Brooklyn-based Americana trio The Lone Bellow, which performed last November at Cincinnati’s 20th Century Theater (read CityBeat’s preview here).
Voting for the 17th annual Cincinnati Entertainment Awards, celebrating the best of the Greater Cincinnati music scene, ends TONIGHT at midnight. Click here to cast your ballot for your favorite nominated local artists.
The CEA ceremony is set for Sunday, Jan. 26, at Covington’s Madison Theater. The show/party will feature performances from CEA-nominated artists Honey & Houston, Moonbow, The Yugos, The Upset Victory, Valley High, The Almighty Get Down and DAAP Girls, as well as a secret opening performance by an entity known (as of now) only as Saint Ain't Mangled Angels (those who read CityBeat regularly will likely be able decipher the thinly-veiled pseudonym).
Also added to the run of show for the CEA event is a special performance by Cincinnati Folk trio The Tillers, who released their fantastic Hand on the Plow album and toured the U.K. with Pokey LaFarge in 2013. The group, nominated for CEAs in the Folk/Americana, Album of the Year and Artist of the Year categories, will be paying tribute to their former bassist Jason Soudrette, who lost his battle with acute myeloid leukemia late last year.