The band, which was formed in 2011 by Sebastien Hue and Pyn Wayne (and is currently a five-piece), has been touring to not only promote their forthcoming album, Dead in Ohio, but also finish it. Hue says the band has been collaborating with artists in places like Philly and New York City in order to complete the recording.
A good example of the band’s collaborative and creative openness (and truly unique sound and songwriting, which mixes Orchestral Pop, Indie Rock, Post Rock and whatever else suits the song) can be heard in the freshly-released single, “Predisposed.” The seven-and-a-half minute tune — featuring strings, percussion, piano and backing vocals provided by local guests — has electronic, Chamber music and orchestral elements, twinkling Indie Rock guitar flourishes and low-sung melodies that sound like a mix of Arcade Fire and Bauhaus, all spliced together and floated over hypnotic, unpredictable structuring.
On their old Facebook page, the band’s bio says the Formerly
Ghosts sound “cannot be contained in dead words and demonstrative
narratives attempting to describe something like a sound, a person, or a
band.” A lot of artists say similar things and are usually full of
shit. Formerly Ghosts are not. (Here is the band's current/active FB page.)
Here is "Predisposed." Click here to hear more from Formerly Ghosts.
Though there are few great excuses to not grab a three-day pass for this September's MidPoint Music Festival, stuff happens. Maybe you only have the time to catch one concert. Maybe you don't want to discover new music. Maybe you only have $20 or so to last you for the end of the year. Or maybe you're a younger music fan who can't experience any of the shows at venues that serve alcohol.
If you want to "a la carte" your MidPoint experience, the festival is ready to accommodate. Individual tickets for the MPMF concerts in Washington Park are on sale now. While the lineups are still being built, the Washington Park headliners have been announced. These tickets will guarantee you entry into the Washington Park festivities only. All shows are rain or shine.
Washington Park (as well as the open-to-the-public MidPoint Midway's many activities and performances) will be open to fans of all ages for MPMF. Here are the details so far; click the day to purchase tickets.
Thursday, Sept. 26: Shuggie Otis and Cody ChesnuTT + opening acts
Pricing: $20 advance; $22 at gate
Gates at 4 p.m.; show starts at 5 p.m.
Friday, Sept. 27: The Head and The Heart and Youth Lagoon + opening acts
$20 advance; $22 at gate
Gates at 4 p.m.; show starts at 5 p.m.
Saturday, Sept. 28: The Breeders play Last Splash (Day Party with special guests/opening acts)
$25 advance; $27 at gate
Gates at noon; show starts at 1 p.m.
Three-day tickets — which will get you into everything (unless a venue reaches capacity, which is unlikely for the Washington Park shows) — are still available for just $69. VIP tickets are going fast.
Stay tuned for more info on MPMF.13.
Last year around this time, Ill Poetic — the Hip Hop artist who grew up in Dayton, cut his Hip Hop teeth in the Cincinnati scene and currently lives in and works out of Columbus — dropped the fantastic video for his excellent track "Gone," which was loaded with Cincinnati references and guest appearances.
Now, Ill Po (who was formerly a columnist for CityBeat) is set to release the single "Silhouette," taken from his superb Synesthesia: The Yellow Movement release (just as "Gone" was) and he's reaching out to fans (established and potential) to help make the accompanying music video he and partner David Damen of Arris Production have dreamed up.
Ill Poetic has set up one of the cooler (and comprehensively explained; let it serve as a guide for those thinking about going this route) crowd-funding projects you'll see. There are lots of great perks for various donation tiers, but also prize perks (dedicated to various Ohio Funk greats, a huge influence on the Hip Hop artist) for those who simply share the project on social media. You can even contribute via product placement if you're a business owner (at the artist's discretion, surely).
Find out everything you need to know about it at the Indie GoGo page here and check out the pitch video below.
Upon completion, thanks to a distribution deal, the video will debut on VEVO. Here's the nut-shell explanation of the song and video project from the Indie GoGo page:
The centerpiece of my new EP "Synesthesia: The Yellow Movement" is a song called "Silhouette". On the surface, this is a pretty straight forward, light-hearted love song. This song, however, is directed specifically toward those ladies who are genuinely music fans. A lot of artists tend to marganalize women as a 'target demographic' they can sing some cliche love sh*t to, and forget they can be music-nerds just like most of us dudes are. The majority of females who dig my songs are genuine, intelligent music fans who often school me on records I should check out. "Silhouette" is dedicated to those women who go out to shows and buy records because music is their life.
My partner David Damen (of Arris Productions) and I have an amazing concept for the video, but we want it done right. We have shot 3 videos on shoestring budgets and have garnered over 60,000 genuine views, heartfelt emotional reactions (reactions of which people have felt in their heart) and critical acclaim (from critics who acclaim things).
Since we're starving artists who are by no means rich or corporate, we're bringing the campaign to you. We're DYING for the opportunity to shoot a video with upgraded cameras & lenses and a full video production team and we really want to tell you about it. Hence why you're reading this right now. But first, feel free to check out the 3 videos we've created to get an idea of exactly what we've already made with a strong team, no sleep, and few funds.
Check out the full Synesthesia release below and/or click on the player to grab your own copy.
CityBeat spoke with bassist Elijah Thomson about the group's unique vision and feel and also where he feels the band is going in their evolution. Everest will be playing the Bunbury Music Festival at Cincinnati's Sawyer Point/Yeatman's Cove on Friday alongside fun., Walk the Moon, Devotchka, Tegan and Sara and many others. Everest plays the Bud Light Stage at 5 p.m. Friday.
CityBeat: What have you guys been up to since I saw you last summer at Forecastle in Louisville?
Elijah Thomson: We took a little break. We were touring with Neil Young at the end of the year, which was really fun. We were a little beat down from a year of touring. We took probably about six months off. We did a little tour in April with Minus the Bear, so we sort of violated our own hiatus to go out with those guys, but that was better. We just did a couple weeks' run from L.A. to Chicago, so we went out there to do a couple dates.
CB: I know Neil Young personally picked you guys to go on tour with him and open his shows. What was the highlight of playing with him?
ET: It has been pretty sweet over the years getting to tour with Neil and obviously a total honor to be able to play with an artist of that caliber and a living legend, as far as I am concerned.
On a certain level, it is still a gig — you know, driving and loading in and out and all that kind of stuff. I think for me personally, watching a guy like Neil night in and night out, it sort of proves that sort of mystical thing in music, what is compelling about somebody that can sustain them for so long.
People are coming out in droves to see Neil and for me it is a personal study on art and what it is that enamors people with art. With Neil, I think it is primarily an honesty with his art. He will put it out there. The first song on his new record is like 27 minutes long. That’s the kind of bravery that comes from having nothing to prove and I think for them, like us, we have to understand why that is important and to find a formula that works, but also (be) true to ourselves and true to our own desires musically. That is a process. It has not been instantaneous, but I think we are sort of on the verge of realizing that ourselves.
CB: Did Neil give you any advice?
ET: I think if there ever was, it was just (to) absolutely do whatever you want and don’t make any apologies and don’t play it safe. It was the kind of real world wisdom that is important. It is not about playing some game. We should not be concerned where we will be classified in a musical genre. It is more about making what you feel and letting other people classify it.
CB: You guys toured pretty consistently the past few years. Do you have any crazy tour stories on the road?
ET: One of the main things we talked about from last year, we seemed to be pretty slippery when it came to crossing paths with law enforcement. We were slippery, we had no issues. I don’t know how we did it. We had a couple close calls, but were able to talk our way out of it every time.
CB: Are you working on any new music right now?
ET: Yeah, the biggest change in Everest is a slight personnel change. Jason Soda, a founding member of the band, decided to resign. I don’t know if I should say why, but ultimately he needed more normalcies in his life.
His replacement — I hate to put it that way — his name is Aaron Tasjan, an amazing guitar player who we met while we were on the road with Alberta Cross. He was kind of filling in for guitar and when it came up that J was going to resign, Joel and I were talking about it.
I think it was a sensitive thing — who were we going to collaborate with and how were we going to take this opportunity to improve the internal chemistry? We had a really great rapport with Aaron and when we were on the road he watched our set every night. He would open the shows doing solo stuff and we would jump on stage with him and jam with him. His spirit has been really amazing since he has been playing with us, bringing a freshness and newness that we have really desired and I think interpersonally it has been good and natural.
Also, the drummer chair has been in rotation the last year and a half or so since Davey, our original drummer, stopped playing with us. Our drummer now is a guy named Dan Bailey, a guy I have known for years. I really respected his drumming. He is an absolutely astounding drummer. It was very easy to ask him to join. Bass players and drummers generally want to choose who they are going to play with. He has known this band for a while, since I have been in it, and he has been chomping at the bit to jam with us, so we are on this new plane that we have never really experienced. It is really sort of a beautiful and fun creative discovery.
I am excited to bring this to Cincinnati. There is a great spirit going on. The plan right now is to finish out this summer touring, a couple weeks in July and a couple weeks in August on the West Coast. Then we are going to go back in the studio. The sound checks for our shows have gone into much more depth with the music; I don’t like the word "jamming," so we will say "spontaneous musical landscapes." It is something we have been wanting to do for a long time and it is really amazing to go on stage and just not have it all pre-programmed, even calling out set lists on the stage, stretching songs out, kind of taking our time with things, letting things be different night after night and really encourage our creative flow together. We are really excited about getting in the studio and experimenting with this.
CB: What is your favorite bass to play?
ET: I play a Gibson Les Paul Recording bass (from) 1973. I have been playing it exclusively for about 12 years. I do own several basses. The first bass I ever had was a Gibson Les Paul Recording bass. My Dad was a bass player and he gave it to me. It was kind of his junker bass and I didn’t even like it but it was something.
It sounds really stupid and mystical, because it was the bass I learned on and I kind of wore it out and it was an awkward bass, but I was always coming back to it because it was familiar.
I was playing with a guy named Richard Swift (producer, singer/songwriter and current member of The Shins), still do, a really dear friend. Right around when we first started playing together, he said, “That is the raddest bass I have ever heard. You should only use that bass when you are playing with me.” I was like, “OK no problem.” I basically decided that was my thing and I was going to stick with it.
I haven’t played any other bass for years and years except in a studio, and even then it is only one song, maybe.
CB: Did you always want to be a musician?
ET: Like I said, my dad was a musician and so I grew up on the road and around music. My uncle owned a studio, still does, and we still work out of there a lot. I have been recording bands since I was 17 years old and have been playing music since I was 12 years old, always had guitars around. When I was a little kid I thought I was the talentless one in the family because I didn’t pick it up before the age of 10. I eventually found my way. This was always what I was meant to do, in a way.
CB: Somebody the other day said that the best way to become a successful musician is to not have a backup plan.
ET: I’d say so, and I’d say most true artists would rather downgrade and live in a shack and still be doing what they are passionate about. It really plays into the artist mentality. I am no spring chicken, so I certainly decided I was in for life. I don’t have a retirement plan. I don’t ever want to stop. This is what I do. I get into other things outside of music so it is not a total obsession. I found a way to make it this far. I don’t know why that would change in the future. If it does, it does, and I will figure it out. This is what works for me; there is no backup plan.
CB: Where did the band name come from?
ET: The story … I wasn’t in the band when they named it and maybe I wouldn’t have picked that name, but that is for another conversation.
From what I gather, Russ and Jason had named their studio Everest Recordings because of a pack of cigarettes that Geoff Emerick had. He was an engineer on a lot of the Beatles stuff and supposedly Abbey Road was originally going to be named Everest and they were going to do a photo shoot in Nepal. It became a logistical nightmare and, as the legend goes, Paul or somebody said, "Let’s shoot a picture out front and be done with it." So the name Everest has significance to them, however it is sort of a common thing for something to be named.
It is hard to Google something like that. That is something you have to think about nowadays and maybe it gets lost in the shuffle a little bit.
CB: What can the fans look forward to at Bunbury seeing you guys for the first time?
ET: As a band we are really relaxed and comfortable. Every new show is an adventure. Every show we have had with this lineup has been over the top amazing.
I guess what fans can expect is the unexpected. They can expect to see some sort of fine but not some self-congratulatory musicianship, people making themselves vulnerable in front of people and making up stuff on the spot and really trying to live in that spirit of Jimi Hendrix and Zeppelin and the kind of feelings those shows had when it was a beautiful thing of stream of consciousness. I think that is something rarer these days in music. I am happy and proud to be in a band that values that part of live performance.
Everest performed at Lousiville's Forecastle fest last
summer. Check out the "A Day in the Life" Forecastle photo series with
the group here.
Impressive Cincinnati AltRock trio Public is all set to performing at Cincinnati's huge Bunbury Music Festival this weekend, essentially opening the fest Friday at 2 p.m. with a performance on the Bud Light Stage.
The band — nominated at the most recent Cincinnati Entertainment Awards for "Best New Artist" — released its four-track EP, Red, last summer and is now offering fans a brand-new recording, just in time to learn all the words and sing along at tomorrow's fest appearance.
The new track is "Honeybee," a spacious, groove-driven Indie Pop gem which is slated for Public's forthcoming second EP.
If you're download phobic, you can also grab
a physical copy of the single. Fifty are being pressed, featuring
hand-drawn artwork and a bonus acoustic B-side, "I Need You," and made
available at Bunbury.
Both songs will be available for download on July 16. The stream and eventual download will be available at publictheband.com.
Editor's Note: Brian Penick of local music promotions company The Counter Rhythm Group is guest blogging for CityBeat monthly to provide a behind-the-scenes look at his journey to release his interactive industry guidebook, Musicians’ Desk Reference.
We are very much in the trenches right now! Keeping afloat amongst a sea of deadlines is a feat in and of itself. And while we typically do not doubt ourselves here at The Counter Rhythm Group, we are quite impressed to bear witness the amount of information being processed within the schedule we have upheld.
This past week I did something that I never thought I would do with Musicians’ Desk Reference — I printed it out! Well, part of it at least. I was simply amazed at the amount of pages and text that printed, so much that I had to refill the printer several times with new reams of paper and even with new ink cartridges.
Through several stages of copy editing and revisions we are finally starting to show how massive this project really is. I knew somewhat early on that it was going to be a wealth of information and documentation (as demonstrated by my inability to stick to the five-page limit set by my high school teachers), but this is far beyond what I imagined.
The interesting thing about all of this — beyond the content — is the fact that the entire workload is customizable to the user. If an artist wants to check every item on a list to recall all potential information, they could be in for several nights’ worth of preparation and work. However, the opposite is also true, as we have built MDR to allow both the beginner and the full-time touring musician to grab a single doc on the go with minimal effort. Maybe I have just been staring at the same set of screens for too long, but it still seems impressive after working on it for over two years!
The rest of the month will see us continually chopping away at content and revisions, plus document sign-offs and content uploads. We are also starting to work out some specifics for the national release and promotional campaigns, which is enough excitement to keep me going like a kid on the night before Christmas morning.
Every day that this project gets closer to release, the potential impact seems to grow exponentially and that is reward enough keep us awake and help pull us through all of these longs days and late nights.
I am going to make this my shortest blog entry yet, because there is still so much work to do. Unfortunately, I have had to remove myself from much of the live music world that I enjoy so very much over the past few months. While this trend will likely continue through most of the summer for me, I hope that you all are able to get out and support the local music scene.
We are very fortunate to live in this city with all of its talent and available venues. While you may not be able to contribute as much to the music industry and independent artists around here as you would like to, a simple start is to go see a show, buy a piece of merch and tell an artist “thank you” for doing what they do. The music industry is not an easy place to find success. We are trying to create a platform that informs and eases the process, but it cannot move forward without the support and contribution from the fans.
Thank you for reading – now go see some live music!
EdenSong, the long-running summer concert series presented by the Queen City Balladeers, kicks off this Friday in Eden Park, but not in its usual outdoor spot at the Seasongood Pavilion.
For the 2013 series, EdenSong is moving just up the hill and indoors — inside the Cincinnati Art Museum, to be exact. The series — now dubbed ArtSong — runs every Friday through Aug. 2 and, as usual, features an excellent collection of primarily local Americana/Roots music performers.
The concerts will take place in the museum’s Fath Auditorium. Seating is more limited, so organizers advise arriving earlier than the 8 p.m. start time. Attendees are asked to enter the museum’s Dewitt entrance on the side of the building, in lieu of using the front doors.
The EdenSong concerts remain free (donations are, of course, welcome) and there is free parking on the museum grounds. This Friday's opening concert features the impressive lineup of Shiny & the Spoon, Ma Crow & the Lady Slippers, Lisa Biales, Anachrorhythms and Bob Kotz.
For the July 19 show, you can catch Ricky Nye, Wild Carrot & the Roots Band, Jim’s Red Pants, Steve Bonafel & One Iota and Ellie Fabe. The lineup for July 26 features Anna & Milovan, Red Cedars, Silver Arm, Greg Schaber and Calamity Rain. And for the Aug. 2 closer, you'll be able to see/hear The Rattlesnakin' Daddies, Bromwell-Diehl Band, the Hertz Brothers, Ann & Phil Case and John Ford.
For more info, visit queencityballadeers.org.
In the late ’70s, Punk Rock and New Wave were blossoming in New York City. But those genre tags were just a convenient labeling device, a catch-all that didn’t take into consideration all of the varied influences artists were bringing with them under that umbrella of Punk or New Wave. Bands would drag things like Rockabilly or Disco into their audio realm and craft their own new sound out of it, with barely any fans blinking an eye, let alone screaming, “That’s not Punk!”
Cincinnati trio Animal Circles bring that sort of kitchen-sink approach into their compositions, craftily blending together Surf Rock, Punk, Roots/Folk/Country sounds, Rockabilly and other styles into their own distinctive sonic smoothie. With the access people have to every type of music these days, it’s a wonder why every band doesn’t have Animal Circles’ sense of eclectic wonderment.
The band celebrates the release of its debut album, Eva Lee, Saturday at Northside Tavern. The free show also features Bloomington, Ind., rockers Thee Open Sex and local Black Sabbath tribute, Druid Piss.
Animal Circles’ variety and sense of dynamics make Eva Lee a thoroughly entertaining from start to finish. From the full-throttle burner “Brooks and Then Done,” with its speeding-out-of-control-train shuffle and rumbling Surf guitar licks (a consistent on the record) to the anxious, Jack-White-goes-to-the-beach vibe of “Squid Attack” to the vintage Country-flavored rocker “Southern Bell,” the band keeps your interest, not just with its unique ingredients, but also its strong sense of songwriting and melody.
The “Surfin’ Space Cowboy” approach has the potential to get old fast, so it’s to AC’s great credit that Eva Lee is such a consistently compelling listen. This is no novelty act.
Here is the Eva Lee track "Life on the Bonzai Pipeline."
Singer/songwriter/musician Joe Hedges — known for work with his band July for Kings, as well as some great solo ventures — is collaborating with visual artist Jiemei Lin tonight at downtown’s Contemporary Arts Center as part of the museum’s series, "The Living Room." (Hedges is also a visual artist, creating paintings, web art and installations.)
The twosome’s project, “Scroll Improvisation,” features Hedges creating music on the fly with a mix of live and recorded material, while Lin crafts a large “scroll drawing” on the floor. According to the press release, “The piece will investigate the function and history of narrative Chinese scrolls in a contemporary fashion while exploring the idea of the western living room as a venue for improvisational ambient and Folk music.” (Lin is a native of China.)
More from the CAC: "In the west, the living room has long been a venue for intimate performances of music for family and friends using inexpensive hand-held instruments. Traditional Chinese living rooms contain a scroll featuring calligraphy and painting. Both western acoustic music and eastern paper scrolls tell stories, reinforce family identities and values. Scroll Improvisation investigates the relationship of music and art, narrative quality of Chinese scrolls, notation and recording, cultural identity and control."
Monday’s special performance begins at 8 p.m. and is free and open to the public. For more information, visit contemporaryartscenter.org.