Over the past decade-plus, Cincinnatian Eric Diedrichs has continually made splashes on the local music scene with the Pop/Rock band The Simpletons and his Cari Clara project (a mostly solo venture in the studio, but also a live band). A few years back, Diedrichs moved to Lexington, Ky., but Cari Clara continued, the live version of which (though largely on hiatus the past year or so) still featuring mostly Cincinnati area musicians — Eric’s brother Mark Diedrichs, Greg Tudor, Jason Arbenz (also of Goose), Josh Hagen and 500 Miles to Memphis frontman Ryan Malott.
Last summer, Diedrichs digitally released his fourth effort for Deep Elm Records, the elegant, evocative 10-track album, Midnight March. This Friday, Diedrichs returns to Cincinnati to celebrate the album’s physical release at Northside Tavern. The free local appearance will feature the full Cari Clara band, plus Cincinnati’s Ohio Knife and Dayton’s Motel Beds as openers.
Diedrichs recorded and produced the expansive and engrossing Midnight March in his home studio in Lexington and the crisp sound welcomes the listener to come inside and get lost in the unique textures and tide-like tempos and structures. Though a lot of “one-man show” albums lack a certain warmth and cohesiveness, Cari Clara is the rare all-solo effort that sounds and feels like a large, full band. But the music is rarely grounded, instead relying on a magical, ethereal aura upon which the songs hover.
Diedrichs has skills to spare — he’s an amazing vocalist, brilliantly able to translate emotion into words, melody and voice, and his top-notch musicianship (on guitar, bass, piano and a variety of programming and other instrumentation) is apparent on first listen. But as Cari Clara grows and evolves, the way Diedrichs constructs and conducts the varying sounds and layers has become dazzling, adding an extra level of enchantment to his always stellar songwriting prowess.
Midnight March is best listened to in full (once you start, you’ll have a hard time stopping anyway), a victory for the dwindling art of making a cohesive album and not just slapping together a collection of songs. Diedrichs says the album is something of a “coming of age” story, saying it’s “an emotional exploration of my own journey from childhood to adult.” That thematic thread is something everyone can relate to and Diedrichs’ lyrics have never been better.
From the shiver-sending ambiance of “When You Knew It” and orchestral, acoustic guitar-driven “Homage to Excess” to the slinky verses and charged, towering choruses of “Battle Hymn” and the Radiohead-meets-Postal Service slowburn of “Safe,” Midnight March is loaded with musical drama, with practically each song building from a hypnotic hush to exhilarating crescendo. With deft arrangements and orchestration, provocative lyrics and brain-burrowing melodies, Diedrichs has made the recording of his career. And, in many ways, it feels like he’s just getting started.
Deidrichs has the talent to become a career artist; hopefully Midnight March reaches the wider audience Cari Clara deserves so he is able to do just that.
Click below to preview and purchase Midnight March.
Latin/Salsa supergroup Tropicoso ended its 14-year-plus, every-Monday-night residency at Corryville club The Mad Frog back in January. But fear not Latin music and Salsa dancing lovers. Tonight you can catch the band’s first date of a new residency at the club. (Read more about the Monday night finale here.)
Starting this evening, Tropicoso will now play The Mad Frog the second Friday of every month (date in flier to the left). The shows are open to fans 18 and up and admission is $7. Doors open at 8 p.m. For more on Tropicoso visit tropicosomusic.com.
Check out this interview with Tropicoso from the eve of its 11th anniversary celebration at the Frog.
Here a clip of Tropicoso filmed when the group performed at the 2007 Cincinnati Entertainment Awards so you can start getting your groove going a little early before heading out tonight.
Local Rock/Soul/Pop crew The Guitars celebrates its newish release, Higher Action, tonight at Northside’s Mayday with special guests Animal Circles.
The recording is actually an expanded version of The Guitars’ phenomenal 2011 EP, High Action, with two bonus cuts — “El Alamein” and a cover of Billy Vera/The Remains’ “Don’t Look Back”— culled from an “Ultrasessions” live recording at local Ultrasuede Studios. The two cuts only serve to make the release stronger. The Guitars' songs have a timelessness — marked by non-pedestrian elements of Motown, Stax, The Box Tops and other vintage Soul Pop — that makes you feel, after just a couple of listens, that you've known these tunes all your life.
Oh, and in another tip of the vintage hat, this new Higher Action is being released on cassette by California indie label Burger Records (the label has put out material by The Black Lips, The GO, King Tuff and many others).
The Guitars are presently preparing to start recording new material with local artist/producer Brian Olive. Keep tabs on the band via their Facebook site here.
Here's the bonus-cut cover of The Remains’ “Don’t Look Back":
And here's the original release's addictive single, "Piltdown Man":
Louisville's giant Forecastle music festival, taking place July 12-14 (the same weekend as Cincinnati's Bunbury Music Festival), today announced its preliminary lineup. Headliners include Avett Brothers, The Black Keys, The Flaming Lips, Animal Collective, Jim James, Crow Medicine Show, Grace Potter & the Nocturnals, Big Boi, Matt & Kim and Alabama Shakes. The festival is held annually at Louisville's Waterfront Park, though this year there will be special "off site" late night shows.
Below is the full lineup. For tickets (which go on sale Wednesday at noon) and complete information, click here.
The Black Keys
The String Cheese Incident
The Avett Brothers
The Flaming Lips
Old Crow Medicine Show
Grace Potter & The Nocturnals
The Forecastle Incident (with special guests)
Young the Giant
Matt & Kim
Sharon Jones & The Dap-Kings
The Joy Formidable
Kurt Vile & The Violators
Toro y Moi
Bob Mould Band
El-P & Killer Mike
Shovels & Rope
Alasdair Roberts & Friends
The 23 String Band
A Lion Named Roar
Hard to believe, but the annual South By Southwest music showcase/festival/conference in Austin, Tex., kicks off in only 11 days. As always, the huge event is featuring some artists from the Greater Cincinnati area. Two SXSW-bound local acts are playing kick-off shows soon to help raise some funds for the trip (the price of gas today makes traveling all the more difficult for independent acts).
• Great Cincy rockers The Harlequins are heading to Austin for SXSW for the first time. The band is slated to perform at the festival on March 16 with the esteemed Gringo Star. Frontman Michael Oliva says the group will be playing shows on the way to and from the festival in Louisiana, Georgia, Tennessee and Kentucky.
The Garage/Psych Rock trio — which is planning a new EP release in April — is performing its "bon voyage" show on March 7 at Over-the-Rhine's MOTR Pub with guests Stephen Paul Smoker. The show is free, but the band will be offering a limited edition screen print of the night's show poster (right over there, to the left) for $5. The band is also sweetening the pot by releasing a new single for free at the MOTR gig.
You can also help The Harlequins out by donating to their gas/van rental fund online. In keeping with their DIY ethic (the group got into the festival without any label or other backing, a rarity these days), the band is eschewing Kickstarter in favor of direct donations through their secure Paypal account, accessible on the trio's official site. Here's the link to donate. Below is a little video spiel if you need further convincing.
• Always dazzling Indie Pop locals The Seedy Seeds are returning to SXSW this year, journeying to Austin with pals The Ridges, a fantastic Athens, Ohio-based orchestral Indie Folk squad that has become a favorite in Greater Cincinnati thanks to regular show dates locally. The two bands will be performing shows together around the South and Midwest on their way to Austin.
The groups team up for a show at the Southgate House Revival on March 6. The Seedy Seeds are encouraging fans to purchase advanced tickets to the "Supercolossal Little Giant Ye Olde South by Southwest Sendoff Show"; for just $6, if you buy your tickets before "day of show," you will receive a hand-draw postcard from the Seedys while they are on the road. Click here to get your tickets now.
Here's a piece of groovy promo featuring both bands and the tour dates.
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. For more on the project, visit its Facebook page here.
Wow, what a month. Extreme highs and lows, minimal sleep and a work schedule that would make an outsider believe I had an armed guard with a shotgun pointed at my back … which in some regard is true, except that I am playing both roles.
I am going to attempt to make this blog entry significantly shorter than the last because, as you may have guessed, I have more work to accomplish. The ever-looming deadline for South by Southwest (SXSW) is creeping up and preparations with everything surrounding the presence of Musicians’ Desk Reference at SXSW grow almost exponentially by the day.
This will be my fifth year attending the Austin, Tex., festival/conference (the largest music-related event in the US), and while it is my second time going without performing, I can already tell that this will be my busiest year ever. Taking meetings, handing out promo material and managing schedules for myself and my team are just a few of the things that will fill my week-long itinerary, all for the pursuit of introducing Musicians’ Desk Reference to some select individuals for endorsement.
While there are many different potential outcomes to this journey, I feel confident that my inevitable glass of top-shelf Kentucky bourbon at the end of the week will be a salute to success rather than a drowning of sorrows.
The obvious focus of this month, or at least what the intention was to focus on, was our Kickstarter campaign for Musicians’ Desk Reference (our upcoming music industry progression eBook for you newcomers). We still have a little over a week to go and time will tell what the final outcome is. My original goal was to have the funding reached by interested parties to eliminate the need for a third party publisher, ultimately keeping the cost down for the user.
In the event that this goal is not obtained in early March, never fear, as those who know me have probably deduced, I have several backup plans. Am I thorough? Yes. To the point that I am slightly neurotic? Probably. Regardless, nothing is going to stop the freight train that is Musicians’ Desk Reference. Nothing.
So in my attempt to clear my schedule for February to make way for this crowdfunding campaign, I actually ended up with a much busier month that originally anticipated. On top of all of our regular client work, The Counter Rhythm Group hosted our Locally Insourced Cincinnati Music Industry Trade Show, a fantastic show with Bad Veins, PUBLIC and The Ridges. We have been in negotiations with several of our clients for national support tours and we are in the midst of working a potentially huge licensing contract for a client.
In addition to a nationwide social media campaign and a getting ever so close to finishing the book, these past 28 days have seemingly become a marathon that we have just sprinted through. My next vacation is (literally) planned for 2015.
In closing I would like to take a second to thank not only those who have already donated to our Kickstarter, but also to those who (hopefully) will. There is still some time left (depending on when you read this; campaign ends on March 8), and sharing is something we are also encouraging folks to do. I would really like to try and go the independent route with this project, but I am prepared with other options in the end if that is not the case. At the least it has been quite a journey.
I also would like to thank those who have had to deal with my absentmindedness in (“normal,” non-music related) conversation over the past few weeks. I would like to say that this may change in the coming months, but knowing myself and how much I want to accomplish with Musicians’ Desk Reference, I would just plan on it for the next several months. It is by no means a way of stating that I do not care about what else is going on in the world, but should be viewed as a precursor to how significant I think this project can potentially be. I have dedicated literally half of my life to the music industry and I believe this is my biggest accomplishment to date.
Goodnight, and thanks for reading!