Cincinnati Pop Rock quartet Mixtapes formed about four years ago and immediately hit the road with a relentless dedication. The band’s hard work paid off and it has experienced great success, building a dedicated fan base across the country with great live shows and hook-drenched, nationally-released albums and singles.
As anyone who has seen Mixtapes live knows, the band’s shows are adrenalized, sweaty fun and their music, while growing more mature and diverse with each release, is sheer fist-pumping, singalong joyfulness.
Frontman Ryan Rockwell was living the dream. But somewhere along the way, his life became more like a nightmare. The fact that Mixtapes’ launch coincided with the death of his father certainly played a part in Rockwell’s difficulties. Though details are vague, according to a press release, Rockwell “started to watch himself deteriorate and become the type of person he hated the most. He tried things he never thought he would and got dangerously close to not making it out.”
"I had never felt more alone," Rockwell says in the release. "Friends that I have had for years literally just stopped talking to me, stopped responding, a large number of them. I turned to the only thing I knew, and I started writing about it. I don't know who was wrong or who was right, but I know how much it hurt and people that I have helped and would do anything for left me when I needed help the most. Other people stepped up and saved me. I don't place blame though … I became a different person for awhile.
Rockwell was trying to understand what was going on in himself to make him so unhappy, but found it difficult to express. So he did what he does best and channeled his emotions into writing and recording songs. Working with friends Kamal Hiresh and Zach George and using the name Youth Culture, Rockwell hit the basement and created what would become the 10-track album, I Hate How Normal I’ve Become, an accomplished and eclectic collection of songs that, while still instantly catchy, possess much more darkness than Mixtapes’ jubilant Punk Pop.
Rockwell released the Youth Culture album late last month as a “pay-what-you-want” (yes, even if you want to pay nothing) download.
“This is an album for people going through things they don't like to talk about or know how to express,” Rockwell says. “We did it all ourselves and paid for it all ourselves. First and foremost, we want you to hear it — which is why it's free. If you like it enough, we'd very much appreciate a donation to recoup costs and eventually put it out on vinyl. But as always with everything I've done, I just want it to get out there, so thank you so much for taking the time to listen; there's a lot of bands out there, thanks for giving this a spin."
Listen to I Hate How Normal I’ve Become below, then click the player to grab your very own copy.
Fans worried that Youth Culture might signal the end of Mixtapes, fear not. The band is currently crisscrossing the United States on the massive Vans Warped Tour, which it'll be a part of until August. (The band is slated to appear at the Warped Tour’s Cincinnati stop on July 16 at Riverbend Music Center.)
Fresh off its 2014-2015 season announcement, Downtown’s Contemporary Arts Center adds a new promotion to its calendar of exhibits, performances and special events.
Night Museum gives visitors a chance to check out the CAC during evening hours every Thursday. From 5-9 p.m., guests can view the latest exhibit, shop the CAC Store, enjoy a cash bar and mingle with other art appreciators. Admission is $7.50; $5.50 for seniors, students and educators; and free for children under 5 and all members. Paid visitors can park for free Thursdays in July at the Central Parking Garage (36 E. Seventh Street).
This week's Night Museum coincides with a special event from One Night One Craft, the CAC's DIY workshop series. Chef Trinidad Mac-Auliffe of Raw Intervention will demonstrate cool recipes — literally — highlighting dishes prepared without heat. Munch on raw creations, then try making some of your own fro 6-8 p.m. One Night One Craft continues Mondays through July.
The CAC is
typically open until 6 p.m. Wednesday through Sunday. The museum is closed on
Tuesdays and offers free admission from 5-9 p.m. Mondays. Find more info here.
Heavy Hinges is a new-ish band featuring some faces likely familiar to dedicated local music fans. Guitarist Jeremy Singer and drummer Brian Williamson have played in numerous groups over the past two decades, while singer/guitarist Dylan Speeg and bassist Andrew Laudeman were members of long-running, super-diverse Cincinnati crew Buckra. Maya Banatwala is the relative newcomer in the band, but her soul-drenched co-lead vocals in the Hinges serve as the group’s secret weapon.
Heavy Hinges debut album, Mean Old City, shows signs of some of Buckra’s trademark sonic diversity, but it’s channeled in a more focused manner. Ultimately, Heavy Hinges is a great Rock & Roll band, but its sound is touched by influences from Blues, Pop, Funk and Soul to various other forms of American Roots music. Like Alabama Shakes, Heavy Hinges manages to sound remarkably vital and “of the now” — despite the obvious vintage inspirations — thanks to the sincerity and vigor poured into each note. Mean Old City bristles with a timelessness that has less to do with the classic genres flirted with throughout and more to do with the from-the-heart songwriting and playing.
Here’s a music video for Mean Old City track “Booze May Be Your Lover, Not Your Friend”:
Speeg and Banatwala make for great co-frontpeople, crisscrossing their melodies and harmonies sometimes like X’s Exene Cervenka and John Doe and other times like June and Johnny Cash, with each singer possessing a voice quite distinct from each other, yet still sounding like they were made for each other when they come together. Meanwhile, the rest of the band are flawless and perform with a similar soulfulness; Williamson and Laudeman are a jaw-droppingly great rhythm section, while Singer’s guitar leads and solos are as attention-grabbing as the singers’ powerful vocal one-two punch.
Heavy Hinges host a free release party for the new album Saturday at 10 p.m. at Northside Tavern with DAAP Girls. Read CityBeat's profile of Heavy Hinges from early this year when the band was nominated in the "Best New Artist" category at the Cincinnati Entertainment Awards.
Onion spoofs your news. Now, the folks behind the satire site (and frequent
IJCGE reference A.V. Club) are spoofing most people’s actual go-to source for
world happenings — BuzzFeed. ClickHole
has the whole BuzzFeed game down, from its font and design to its content: Click-bait headlines? Check. Obscurely themed lists and photos? Check. Quizzes to annoy the last shred of
living hell out of your Facebook friends? Yup! Will ClickHole keep up the gig
and continue to satirize the Internet for the foreseeable future or is this just
a limited launch sponsored by Jack Link's? One thing is for sure: Get ready
for plenty of confused old people and dumb teens posting the site
without any knowledge of the joke. Just check the cringe-worthy oblivious comments on its Facebook page!
That being said, BuzzFeed probably isn’t going anywhere any time soon, either. Who else is going to point out to me this hilarious goof from the music video for my teen romance anthem, “Dilemma” by Nelly and Kelly (Rowland)?
OK Go is known for their creative music videos. They also must hold Gob Bluth close to their hearts, because their latest offering is all about illusions!
Who wouldn’t love receiving a phone call from their favorite musician, movie star or public figure? Celebcalls.com charges a mere four bucks to have a star like Justin Bieber or NASCAR’s Tony Stewart record either a call or voicemail greeting for a loved one. Just pick your celebrity speaker, plug in a few details about your friend and a celebot spits out a greeting that I’m pretty sure is just real sound bites cut and pasted back together like a ransom letter for your cousin’s birthday. So thoughtful!
Biebz tweeted about the service, suggesting it as a Father’s Day gift. I don’t hate my dad, but if you do, other celebs include Dr. Phil McGraw, Mike Tyson, Snoop Dog and 16-year-old YA author and least interesting of the Kardashian Klan, Kylie Jenner, who’s next gig is an in-store appearance at a Pac Sun.
There’s an NWA biopic in the works, and the roles of Dr. Dre, Eazy E and Ice Cube have been cast. Straight Outta Compton will star theater actor Marcus Callender as Dre, newcomer Jason Mitchell as E, and O’Shea Jackson Jr. — Ice Cube’s son — playing his dad Cube.
R.I.P. IkeaHackers. The creator of the how-to blog that features alternate uses for Ikea furniture has received a cease and desist letter from the Swedish furnishing giants. By June 23, the site must devoid of all advertising space (which creator “Jules Yap” started selling when the popular site became a full-time job) or the site must relocate sans Ikea branding. It’s a pretty shitty move on Ikea’s part, considering the site is essentially a love letter to the mega-store and its hackable, mashable DIY products that probably inspired many to voyage to their local Ikea warehouse, drop some bucks and create some hacks of their own. Notable IkeaHacks include the EXPEDIT bar and the KNUFF transformable coffee table.
I’ll admit I’m a sucker for poppy music video recreations starring unlikely dudes, filmed in their basements. But the following vid is great in its own right because this scantily clad heavy-set gentleman werks better in his natural habitat than Britney does in an professional music video with an actual budget.
Brit is an icon, but I’d much rather pay to see this guy perform at Planet Hollywood Las Vegas.
The English language continues its decent into a hodgepodge of text message shorthand and cartoon images as Emoji releases 250 new symbols to the Emojipedia this July. Peep the whole list here (unfortunately you will have to settle for reading descriptions as the actual Emoji images aren’t available yet); highlights include a middle finger, a chipmunk, the Vulcan salute, a weightlifter and so so many office supplies.
The Game of Thrones finale simultaneously gave me life and sucked my soul away, so I’m feeling pretty fragile and won’t recap it. There are enough spoilers lurking across the Internet (including a major bomb about a particular character yet to be introduced…seriously, nothing is safe) — beware!
Riff-tastic Cincinnati Hard Rock foursome Lift the Medium has only been a band for a year, but you wouldn’t know it listening to its accomplished debut full-length, Mastermind. The band celebrates the release of its rock-solid album with a show Saturday at MVP Bar & Grill in Silverton. The 9 p.m. show also features performances by Livid and Life After This. Admission is $10; the first 50 fans through the door score a free copy of Mastermind.
Though a relatively new band, Lift the Medium’s members have extensive experience; singer/guitarist Joey Vasselet spent time in Rootbound, a melodic band that craftily incorporated influences from several different eras of Hard Rock, while bassist Justin Kennedy, singer/drummer Jake Bartone and singer/guitarist Joe Bartone were a part of Atlantis Becoming, a group known for its exploratory, progressive approach.
The band members’ backgrounds give a good sense of Lift the Medium’s style. The songs on Mastermind are craftily structured — the winding riffs and rhythms are constantly in motion, subtly recalling the more exploratory sounds of Atlantis Becoming. But there’s no meandering — every movement is in service to the song, resulting in a more passionate and pointed melodic impact. There is also a lot of diversity throughout Mastermind, but it’s molded into a cohesive and contemporary sound the group can call its own.
Lift the Medium can at times remind you of Grunge-era superstars like Alice in Chains or Soundgarden, but flashes of the classic ’70s/’80s Hard Rock/Metal perfected by the likes Aerosmith, Ozzy Osbourne or Iron Maiden also bubble to the surface. The delicately ingrained Prog touches lightly recall groups like Tool, but Mastermind also sounds like it would be perfectly at home on Rock radio next to contemporary acts like Shinedown and Seether. The production on Mastermind is remarkably crisp and muscular, making it even more radio-ready.
It’s no easy feat to incorporate such a variety of styles without sounding like Rock tourists/time travelers, but Lift the Medium’s sharp songwriting skills and impeccable chops help bring everything together without sacrificing its own distinct personality, allowing the variance to keep things sonically interesting from start to finish, but never allowing it to overshadow the strength of the songwriting. Cincinnati’s Rock radio stations (and likeminded ones across the country) should be all over Mastermind. It’s a crowd-pleaser that works on numerous levels.
Find more info about Lift the Medium (and hear some more song samples) here.
It smells like drying piss and old beer on the back deck of Northside’s The Comet. The air is filled with the dull thud of a concert beating up against the walls.
There are shows at The Comet every night and people piss and drink there every night, and John Hoffman and Dylan McCartney are there just about every night. Tonight they’re just here to get drunk, but usually they’re the center of attention.
Hoffman and McCartney are in emerging Cincinnati Punk band Sleeves. Hoffman calls the band’s sound American Apparel Punk. Their debut EP Sex is Stupid can be downloaded for free here. They’re a three-piece made up of Hoffman on lead guitar, McCartney on drums and Alex Collins on bass. Hoffman and McCartney both sing, and they both end up on the ground and sometimes injured by the end of their shows.
Cincinnati has an active Do-It-Yourself music scene and Hoffman and McCartney are major players in it. They organize and play shows and Hoffman even records, masters and puts together records for other bands.
Sleeves has played at The Comet, but most of the band’s shows aren’t held in traditional music venues but houses.
Residents all over the city are opening their basements, living rooms, decks and kitchens to musicians that want to do what they love wherever they can do it.
“I still remember the super visceral feeling I got from walking into my first house show,” Hoffman says. “It was just like ‘Where the hell am I? I’ve never seen anything cooler than this.’ I finally felt comfortable in a public space.”
From the outside, a house show looks uncomfortable. There are usually four or five terrifyingly big and tattooed guys stoically staring and bobbing their head to the music. Mosh pits break out constantly, and beer gets all over everyone no matter what, but it’s the closest thing to a bohemian utopia in Cincinnati — anything can happen.
“At one show, there was a point where everyone was crowd surfing just so they could tag the ceiling with spray paint,” Hoffman says. “It became a group effort where everyone was holding people up so they could tag the ceiling. That house was a wreck.”
“Suffice to say they probably didn’t get their deposit back,” McCartney added.
There’s no malice in these ways of destruction and these different looking people. They worked together to tag the ceiling — vandalism — but with teamwork, so it’s OK. The terrifying gentlemen are the first to help anyone up who gets knocked over. For every beer that’s dumped, 10 more are handed out. All the dirt, grunge and basement gunk are exactly what Cincinnati’s DIY bands need. The bands are good enough for big venues, but something is lost when people have to pay to get in, pay to drink and pay to eat and they can’t go outside for a cigarette and walk back in without getting hassled.
“My other band [Mardou] played at Bogart’s once and it was the worst show of my whole life,” McCartney says. “I’ve had shows which were one-twentieth the amount of people, at a house or something, and it was so much more fun to me. You connect to people at a show like that and they connect to you.”
House shows are intimate. There’s usually only an inch between you and the mic stand, but the intimacy comes from more than just close proximity. Certain houses become “venues” all on their own by regularly hosting shows — like The Outhouse in Clifton Heights and The Last House on the Left on Kirby Avenue in Northside. Communities form around these bands and houses, and people that feel like they didn’t fit in anywhere can find a home in someone else’s house. It’s an Island of Misfit Toys that serves Skyline chili.
“At the end of the day, I think it’s just an arts community — or a weirdos community,” Hoffman says.
Sleeves’ next show is Tuesday, June 24, in the basement of Lucy Blue Main Street location in Over-the-Rhine. Find details here.
Executive Director of the National Gay and Lesbian Task Force Rea Carey said the executive order will be a major step forward.
“Now millions of people will have the economic security they need to provide for their families,” Carey said in a press release. “This decision is good for LGBTQ people, good for our economy and good for America.”
The initiative was a campaign promise in 2008, and LGBTQ groups have pressured the president to issue the order for years.
Obama announced this decision before appearing at a Democratic gay-rights fundraiser on Tuesday and as greater protection stalls in Congress.
Employment Non-Discrimination Act, which would protect all American workers from discrimination based on sexual orientation or
gender identity passed the Senate in November but has since been halted in the
According to the Washington Post, 24 of the top 25 federal contractors have nondiscrimination policies towards sexual orientation, and 13 of those policies include gender identity. So while the executive order will cover 20 percent of the workforce, most are already protected.
Although many private employers offer protection, discrimination is still on the books in many states.
29 states, it is still legal for employers to discriminate on the basis of
sexual orientation; and in 32 states, gender identity is grounds for
Carey stressed the work that remains.
“Unfortunately, many of us who don't work for federal contractors will still lack workplace protections,” she said. “Now we must redouble our efforts for the urgent passage of state employment protections and strong federal legislation.”