This is the midpoint of MidPoint, the second of the three holy days of September. A day of great adventure and great potential for misadventure that exceeds the anticipation of Day 1 and the inevitable denouement of Day 3. A day to love. But first you've got to get there, and an even longer drive down I-75 this afternoon meant that I was forced to miss Izzy & the Catastrophics (Note: Izzy and Co. rescheduled and play today at 6:15 p.m. on the Midway AND at Japp's at 12:30 a.m.) on the Midway and on the Midway and American Royalty at Washington Park. And my teeth are considerably flatter. Tomorrow I take my chances with the surface roads.
First up on the agenda was the third band on my Friday schedule, my beloved Black Owls at the Grammer's stage. With their brilliantly hallucinatory film projection playing out on the tent ceiling just above their heads, the band clicking with shambling precision and frontman David Butler in the middle of a 10-day cleanse (Five days without beer? Madness, I tell you, madness...), the Owls roared through a set that offered plenty of familiar favorites and a couple of brand new tunes slated for their imminent fourth album, Wild Children, the first to feature input from the full quintet.
As per usual, the chiming guitars of Ed Shuttleworth and Brandon Losacker offered glammy tribute to the gods Hunter and Ronson, while the intuitive headkick of rhythm section Sammy Wulfeck and Brian Kitzmiller ran like clockwork, if the clock in question is Big Ben. And David Butler continues to serve as vocalist/ringmaster, a perpetually compelling stage presence combining witty banter ("We're your Black Owls, supported by your tax dollars..."), kicky athleticism and a vocal presentation that thrillingly suggests Ian Hunter's mournful croon, David Byrne's artful warble and the jittery wonder of Jerry Casale. The only thing better than seeing the Black
Owls is seeing them again. They will be returning to the Northside Tavern in December; give yourself the gift of the Black Owls this holiday season, won't you?
I hung around and talked with the various Owls and their various lovely wives while Secret Colours provided a pulsing Psych/Space Rock-meets-Classic Rock soundtrack. Flecks of The Doors and Velvet Underground filtered through kaleidoscopic blotter tabs of the Brian Jonestown Massacre and The Dandy Warhols turned up to a Spinal Tappish and completely satisfying 11; that's the stock-in-trade of Secret Colours. A lot of the subtlety of their sophomore album Peach gets shaved off in their live presentation (although the melodica was a nice touch), but the band ably replaces it with a muscular and voluminous vibe that reverberates in your chest like a second heart.
From there, it was a brisk walk down to The Drinkery to catch The Kickaways who were using their MidPoint show to officially launch their sophomore album, Show Yr Teeth. It's an appropriate title since that's exactly what the band does on their latest effort, amplifying and refining all the elements that defined their 2011 debut, America! America! Although frontman Charlie Lynn played some guitar on Show Yr Teeth, he made the conscious decision to set it aside in The Kickaways' live configuration. That boils the band down to their charismatic lead vocalist and a tight-as-a-gnat's-ass power trio, a formula that worked pretty well for The Who, Led Zeppelin, Queen and Black Sabbath.
Last night, it was the latter that seemed the most potent reference point, as The Kickaways seemed to be channeling Ozzy and the boys circa Paranoid but with the swaggering ethic of a great Psych-tinged garage band. Up front, Lynn was garage glamor personified, with leather jacket, a plaid shirt tied like a skirt at his waist and several layers of T-shirts, the top one reading "It Girl." No longer pinned down by guitar duty, Lynn was a singing dervish, occasionally banging a tambourine but generally flying around the stage and howling with mad but precise abandon. Guitarist/vocalist Remi Glistovski largely kept his head down and focused on producing riffs of Richter Scale proportions while Jacob Ittle inhabited his role as bassist with the mindset of a rhythm guitarist and drummer Adam Lambchop literally moved the air with his punishing skills, banging his kit with the authority of a skinny John Bonham. The Kickaways are more than ready for their Big Time close-up.
I reluctantly bailed on the end of the Kickaways' set to head up to the MOTR Pub to bask in the Pop/Rock splendor of Cincinnati's Tigerlilies. Pat Hennessy has been working this corner since forming the band in 1989 and while the band has gone through a few guitar partners (renowned and beloved oddball William Weber, former Lazy guitarist Steve Schmoll, guitarist-turned-producer Denny Brown) and several tweaks to his Power Pop concept, the Tigerlilies' core has always remained Hennessy on vocals and guitar up front and the durable rhythm section of brother Steve Hennessy on hammering drums and Brian Driscoll on thundering bass. Hennessy's latest guitar foil may well be the best in a long line of great six-stringers; Brendan Bogosian has an impeccable resume (TheWoos, Cash Flagg, Kry Kids, among others) and his razor-sharp skills and Pop/Rock nuance make him perfectly sympatico for Hennessy's punky take on crunchy Power Pop. Tigerlilies' just-released In the Dark may well stand as the best work in their excellent catalog, and this version of the band is clearly the reason as evidenced by the wall of sound emanating from the MOTR stage last night.
From there, it was a long walk down to Arnold's for the ecstatic blister of Cincinnati's Heavy Hinges. The band may have started out last year channeling the spirit of old Gospel 78s and Alan Lomax field recordings but they have graduated to an electric church service that pumps like an oil derrick with a swing sweeter than Ted Williams. It's Blues with a touch of Jazz with a heart needle full of adrenaline. Guitarists Dylan Speeg and Jeremy Singer can go from textured nuance to hot Jazz/Blues riffmongering in the blink of an eye, frontwoman Maya Banatwala works a lyric with the dramatic/comedic flair of a 21st century flapper (and bangs that ukulele like Betty Van Halen) and the slippery rhythm section of bassist Andrew Laudeman and drummer Brian Williamson establishes the ever shifting heartbeat of the band with intuitive brilliance.
In the Hinges' hands, "Ain't No Grave" sounded like it had been arranged by Carlos Santana, but it's the band's originals that stick in the mind and danced-off-ass the longest; "Mean Old City" offered up the band's patented thump-and-grind and "In My Dreams" showed their flair for electric Flamenco or something just like it. Banatwala noted that she doesn't celebrate Christmas, so MidPoint is her Christmas (Merry MidPoint, Maya!), and Speeg was at his cheeky best between songs ("The women in here tonight look like they were picked by Lenny Kravitz …"). If there's a more accomplished and diverse band in Cincinnati than Heavy Hinges, it's a safe bet that they're not half as entertaining. I could be wrong or drunk or both, but I don't think so.
And then it was midnight and time for my overall MidPoint pick, The Technicolors from beautiful Phoenix, Arizona, an area not necessarily known for its music scene. I had picked them to preview on a whim and listening to the music they I could find online absolutely floored me. In the preview blurb I namechecked Cheap Trick, Big Star, The Kinks, Led Zeppelin, Oasis, Todd Rundgren, Kula Shaker and Nada Surf. I stand behind any and all of that, but after witnessing their live assault, I can honestly say that it all comes together as The Technicolors, which now seems like a perfectly apt name.
In the studio, The Technicolors are formidable alchemists, transforming their influences into buzzing, crunching gold that becomes more appealing with each successive listen. On stage, the band taps into that primal sense of elation that occurs in the earliest moments of teenage discovery, when music is new and the vistas of what to explore next seem limitless. The Technicolors possess the aforementioned sonic reference points to be sure, but what they evoke as a band funneling all those sounds into their astonishing singularity is a return to that viscerally magic moment in personal history when one loses one's cherry to music.
Last night at the uberfabulous MOTR Pub, The Technicolors were a force of nature, the furies of Rock unbound. The twin guitar attack of frontman Brennan Smiley and Mikey Farizza were like David Copperfield's giant buzzsaws; potentially dangerous but ultimately entertaining. Bassist Mike "Nico" Nicolette looked as though he was having more fun than the audience as he joyfully bottomed the sound with a sinewy and insistent pulse, which was further anchored by drummer Kevin Prociw's purposeful bashathon. And tour keyboardist Troi Lownei (he appears on a couple of songs on the band's exquisite album Listener) added a dash of Radioheadness to the proceedings (if Radiohead had jumper cables attached to their undercarriages).
Their studio version of Chris Isaak's "Wicked Game" supplants the original's icy cool detachment with a passionate embrace but in the live arena, the band plays up the sense of impending doom inherent in the "I don't want to fall in love" theme. And "Sweet Time" may simply be one of the best live translations of an already powerful song that I've been lucky enough to witness in four bloody decades of standing in front of bands.
Are The Technicolors the future of Rock and Roll? I wouldn't hang that albatross on any band, particularly one I love. The Technicolors will make you feel things about Rock that you haven't felt for a very long time, and that should be more than enough to recommend them.
• As Black Owls frontman David Butler was explaining his cleanse — his wife Amy is supporting by joining him — which features 10 beerless days, he noted that he's never felt better and his voice has never been stronger. Goose frontman Jason Arbenz aptly observed, "He's going to turn himself into some kind of superhero." I think he may already be there, dude.
• It was great catching up with the Owls and the Mrs. Owls (Amy Butler, Carrie Losacker and Sarah Kitzmiller). The ubiquitous King Slice, the barometer of all that is cool, was in attendance as was former CityBeat worker bee Sara Beiting, a pretty decent hipness indicator her own bad self. And Mark Houk from Sohio confessed to chills during the new Black Owls song, "Gasoline." I predict that's going to be going around soon, my friend.
• As I walked into The Drinkery, I was met by the whole of Alone at 3AM. They weren't hanging out in a bunch like The Monkees, they were getting ready for their imminent set after The Kickaways. Chris Mueller put a Yuengling in my empty hand and filled my empty head with joy. Brandon Losacker appeared to be handing me a beer during The Kickaways set but he quickly disabused me of that notion; it was meant as a toast. Note to everyone: if you look like you're handing me a beer, I'm going to look like I'm accepting it. Brandon did drop a shot of Jameson's in front of me, which will earn him a plaque upgrade in the Hophead Hall of Fame.
• On my way down to Mr. Hanton's (who now has a brick and morter store on Calhoun) to get a wonderful and nutritious Handwich (which is a hot dog as big as a Cuban cigar … I recommend the Smokehouse), I vaguely thought I heard someone yell my name, but I've been hearing voices lately and they seem to know me, so I gave it the same attention I reserve for car horns in parking lots which now go off for no other reason than someone locking their door. Luckily the hailing party was not part of my drug-fueled hallucinogenic past but the flesh-and-blood person of Ready Stance guitarist/vocalist Wes Pence. We vowed to meet at the Tigerlilies gig and did. Another way I knew he was real. I'm fairly sure.
• Also taking in the vast Power Pop beauty of Tigerlilies (and while I have the internet's attention, no, you overbearing suggestion Google dicks, I do not mean Tiger Lilies, I mean what I fucking well typed) were damn near all of Culture Queer — Jeremy Lesniak, who produced Tigerlilies' In the Dark, Dana Hamblen and Sam Womelsdorf, Fairmount Girls' Melissa Fairmount, the aforementioned Wes Pence and a couple of guys who remembered me from my Short Vine days in the late '80s — except they thought I was Jimmy Davidson. I told them I worked the counter at Wizard Records, but I don't think they believed me. I could have badly played any guitar in the joint to prove my identity, but it was just nice to be remembered.
• Sara Beiting was also hanging at Tigerlilies, along with perpetual MPMF and raconteur Jay Metz, who brought along Shuggie Otis' brother and drummer, Nick Otis. We had a brief but nice chat, got some pictures together and bid adieu. Shuggie had already left for a gig in Toronto, but Nick and some of the band stuck around to catch some MidPoint sounds before a 5 a.m. flight. Yargh. Hope they made it on time this morning.
• Brian Kitzmiller and his lovely wife Sarah also dropped in on the Tigerlilies. Brian actually bought me a beer but I didn't catch up with him until I was on the sidewalk outside the MOTR and was on my way down to the next thing. Sorry I stuck you with two beers, dude. I'm pretty sure you took care of it. While I was apologizing for making Brian appear to be a two-fisted alcoholic, Sarah pointed out a guy dressed in what seemed to be tin foil Post-It notes, which may have been advertising or just an odd fashion choice. If you'll recall from this space an almost unbelievable five years, Sarah, a first grade teacher, went to Staples to buy Post-It notes and actually had some stuck in her hair. Brian had told me the story, and the next night at Arnold's, I met Sarah for the first time. When Brian introduced us, I excused myself, reached into my pack, pulled out a handful of Post-Its, stuck them in my hair and shook her hand. So Post-Its are kind of our thing. And I was glad she pointed out the tin foil Post-It guy, because I saw him as I walked out the door but I chose to ignore it, just in case it was another alcohol fueled flashback to the acid days of yesteryear. As long as she saw it too, it was all good.
• Right on cue, King Slice strolled into the Heavy Hinges gig and anointed it as the cool place to be at 11 p.m. on MidPoint's second night. And so it came to pass. Also making an appearance right before I was ready to hit the sidewalk was former Buckra guitarist and ever-present MPMF staffer Jacob Heintz, checking out his old bandmates and hanging around waiting for the next emergency, which I hope never came. It never seems like a complete MidPoint experience until I've had a chat with Jacob, so now it is.
• Plenty of folks in attendance at the Technicolors soiree back up at the MOTR, which I hope I had at least a little something to do with. My pal Paul Roberts was there to buy me a fabulous beer from the MOTR's endless taps, with his buds Big Jim and Little Stu in tow. Stu even had a hat made with his name on it so I'd bloody well remember that his name is Stu. If he had said, "My name is Stu, how do you do?" that might have been perfect. The hat was pretty awesome at any rate. If I forget Stu now, it will be evidence of drug backlash or a stroke. Just so you know.
• I spied former CityBeat editor John Fox in the MOTR crowd so I headed over to say hello. As I have explained in the past, I owe John an incredible debt of gratitude for recruiting me for CityBeat nearly 20 years ago and for insisting that I write features for him rather than reviews. It was literally a life-changing conversation, and I can't begin to thank him enough for the opportunity he gave me in the beginning and his faith and guidance in the subsequent years. Once again, he left before I could get that beer into his hand … I'm clearly going to have to drive the truck up to his house. The only thing is I don't know where he lives; his faith in me, it would seem, had limits, which I completely understand. Thanks again for everything, John, you gave me a chance to be a part of something special. My current status as a poverty-wracked, free-beer-swilling hack is all on me.
• I tried to get down to the Mainstay in time to see some of Bella Clava's set because their appearance at The Drinkery last year was one of the festival's highlights for me. Sadly, they had just finished when I pulled up, but I did get a chance to chat with keyboardist Caitlin Dacey and guitarist Steve Suttie as they loaded out. As it turned out, the band is staying with Honeyspiders frontman Jeremy Harrison, whose new outfit also played on the evening's Mainstay bill. Honeyspiders is clearly a band to keep on the radar; the limited recordings they've shared to date are potent evidence that something big is going on there
Last night was a glorious night for music and glorious music was made. Combinations don't get much better than that. Things didn't start so well, though; a quick e-mail on Wednesday revealed that, for a variety of reasons, my friend Matthew Fenton wouldn't be making his annual pilgrimage from Chicago to our fair festival. And then the drive down I-75 was infuriatingly stop-and-go for no apparent reason, which had me grinding my teeth all the way downtown.
Every molecule of that dour energy was dissipated with the first show of the night as Cody ChesnuTT hit the Washington Park stage like a hydrogen bomb of positive vibration.
ChesnuTT's MidPoint appearance was also his Cincinnati debut and the sizable crowd that showed up to witness it was completely enthralled with his potent blend of Neo Soul, Reggae, Jazz and Pop.
ChesnuTT doesn't dress the part of Soul crooner; graphic T-shirt covered in cassettes, red cardigan, black sweats and an army helmet. The helmet is an odd sartorial choice, but ChesnuTT has explained that he's "fighting to keep the soul alive." Not the musical genre, but the spiritual essence at the center of all human beings. That's a pretty big mission for a singer/songwriter to assign himself, but last night's performance proved that ChesnuTT is more than up to the task.
Drawing strictly from last year's gorgeous Landing on a Hundred (he no longer does any songs from 2002's The Headphone Masterpiece, feeling that he's moved beyond the events in his life that inspired that album), ChesnuTT blew any trace of negativity into the stratosphere and replaced it with a rock-solid groove (courtesy of his absolutely stellar band) and a message of pure love. Not Barry White let's-ease-them-panties-down love, but love of self, love of mankind, love of life, which should ultimately lead to unconditional love for one other person.
Not that ChesnuTT doesn't recognize the world's dysfunction. In his brilliant "Everybody's Brother," he sings, "I used to smoke crack back in the day/I used to gamble rent money and lose/I used to dog nice ladies, used to swindle friends/But now I'm teaching kids in Sunday school and I'm not turning back." On the album, the song thumps along on a hearty Funk beat, but on stage, ChesnuTT delivers that opening verse with a sermon-like intonation, and the band swells around him with Gospel fervor and Soul intensity.
No matter what vibe ChesnuTT is channeling at any particular point in the show, he is a master showman, imploring the audience to join him, engaging them to become an integral part of the proceedings. And when he sings, when he digs deep into his creative core and unleashes his soul though his vocal cords, sweet mother of all that's holy, he sounds like the reincarnation of Marvin Gaye, the little brother that Stevie Wonder didn't know he had and the lost Marley sibling all rolled into one otherworldly package. Anyone who was not smiling at the end of Cody ChesnuTT's performance last night is damaged beyond the help of therapy and psychoactive drugs. Please come back to see us again soon, Cody. If Foxygen's slot is still open, Saturday night would be just fine. (Editor’s note: Cincy’s fantastic Wussy has claimed Foxygen’s Washington Park slot tomorrow.)
After Cody ChesnuTT's splendorous opening, it was Blues/Rock legend Shuggie Otis' turn to lead the Washington Park congregation, which he did in scorching style. Otis was barely in his teens when he started playing guitar with his father, R&B icon Johnny Otis, ultimately leading to session work with Al Kooper and Frank Zappa when he was just 16, and his 1970 debut solo album, Here Comes Shuggie Otis, at 17. And while Shuggie has laid low for long stretches in his nearly 50-year career, his current resurgence is sweet vindication for those periods when an indifferent music industry ignored his virtuosic brilliance, forcing Shuggie to turn away from the industry.
Shuggie's set started a little hesitantly as he acclimated to the stage set-up; at one point, he jokingly asked, "Can somebody show me how to work this shit?" Somebody did and he was off, peeling off incendiary riffs and razor sharp runs with a casual intensity. The set's sole slow spot was a new song called "Special," that sounded like Shuggie copying the numerous Pop artists who have copied him, but he followed it with a blazing version of "Me and My Woman" that erupted from the stage like a volcano and oozed through the assembled multitude with the heat and inevitability of the resultant lava flow. Once he and his stellar band got going, Shuggie Otis provided a transcendent moment in MidPoint history, the redemptive return of an astonishing talent that should never have gone away in the first place.
Only one thing could have dragged me away from the hair-raising, slack-jawed wonder of Shuggie Otis, and that's the triumphant return of Cincinnati’s Mad Anthony. Since the July van accident that could have been the band's literal epitaph, drummer Marc Sherlock was restrained by a neck brace and an order against all relatively physical activity. Outside of a little rhythmic tapping to keep his chops up, Sherlock was virtually drumless for three months, while guitarists Ringo Jones and Adam Flaig hit the road for some acoustic dates to keep the rent money coming, then set off for its first cross-country tour, which culminated with last night’s homecoming.
And so Mad Anthony took the triangular stage at The Drinkery, their first show with their full current lineup since the accident that nearly cost them everything. Jones and Flaig brought plenty of their patented frenzy to their acoustic gigs, but they've clearly missed their hypertalented timekeeper, which was evident from the visceral fury that permeated every note of last night's show. Sherlock couldn't have looked any happier; with every roll, every cymbal crash, every massive kick, his smile was a permanent fixture, and Jones and Flaig responded with a tumultuous joy that was a palpable presence in the room.
At a normal Mad Anthony show, the trio storms into an audience's frontal lobe with incomprehensible power. If The Stooges ate Black Sabbath and shit out three perfectly formed babies the next day that grew up and absorbed Punk, Pop and Rock influences like a bar towel, then wrung out those influences into shot glasses and downed them one liquor/beer/sweat/adrenaline slug, that would be Mad Anthony. Last night's return to The Drinkery was all that amplified to the third power. Naturally, they finished with "We Love This Fucking City." Naturally, this fucking city loves Mad Anthony. It's worked out so far.
After the major nut-kick of Mad Anthony, I tooled down to Arnold's to catch some Beatlesque sweetness courtesy of Canada’s The Shilohs. They were really quite good, and I definitely wanted to hear more of them, but they seemed intent on a mid-tempo set in the key of "If I Fell," and I wasn't quite in the mood for that. So I headed back to The Drinkery to catch locals Frontier Folk Nebraska's set.
After Mad Anthony's blistering presentation, I chatted up Kelly Thomas for a few minutes outside The Drinkery, and she had noted that Frontier Folk Nebraska was veering in a decidedly more electric direction, rather a shift from their traditional acoustic roots. When The Shilos didn't pan out for me, I decided to witness FFN's electric evolution for myself. Good decision.
The new FFN is plugged in and ready to whip any ass in the house. Imagine a world where The Ass Ponys channel Crazy Horse and the Bottle Rockets and Uncle Tupelo and you'll be close to the barely restrained muscle emanating from the new Frontier Folk Nebraska. All of this was evident on the band's eponymous 2011 album, but it's magnified to an incredible scale in the live setting. FFN recently lost founding bassist Steve Oder to a graduate program, which could have seriously altered the band's chemistry, but new bassist Matthew McCormick seems to have settled in nicely, alternating between a pulsing beat and runs that emulate lead solos, forming a slinky rhythm section with drummer Nathan Wagner. Meanwhile, frontman Michael Hensley and Travis Talbert create a tandem guitar attack that perfectly balances nuance and power. I liked where FFN was and I love where they are.
After FFN, I found my car and took a drive down to the Mainstay to catch London's blazing Rock power trio Leogun. Vocalist/guitarist Tommy Smith is a revelation, a genetic hybrid of Robert Plant and Jimmy Page in one electrified body, wringing sounds from his guitar that invoke all the greatest '70s translators of the Blues while maintaining a firm stance in the 21st century. Anchored by the thunderous rhythm section of bassist Matt Johnson and drummer Mike Lloyd, as slippery and as solid as Entwistle and Moon, Leogun swaggers and swings with retro inspiration and contemporary energy. They peeled through a set filled with tracks from their phenomenal debut, By the Reins, but one of the highlights was their completely unexpected and timber-rattling take on Kool and the Gang's "Jungle Boogie." Not sure when they'll be back, but I'll be there when they return.
• Music editor Mike Breen informed me that publisher Dan Bockrath was going to be making with the beers this year, but I had no idea he would begin his hop blitzkrieg so quickly and voluminously. Dan found me in the crowd at the start of Cody ChesnuTT's set and put a beer in my hand immediately. And just as I finished that first one, Dan reappeared at my side with yet another, claiming, "I feel so good I had to double down." After this MidPoint, I may be able to build a new wing onto the Beer Buying Hall of Fame with Dan's empties alone. You are a god that walks among men, Dan Bockrath, and I hope to see you every night this weekend.
• During Cody's lovely and moving "Love is More Than a Wedding Day," he announced that it might be a good time to dance with the one you love. I looked at Dan, Dan looked at me, but we dismissed the idea. It is a testament to Cody's soulful presentation that I actually considered it, though.
• Years ago, my good buddy Troy paid me the ultimate compliment when he spotted me at a show. He clapped me on the shoulder and said, "I know I'm at the right show when you're at it." The very same could be said for the ubiquitous King Slice. His appearance at a show is like the Good Housekeeping Seal of Approval. Follow him and see where he goes next. That's where the party will likely be the best.
• Also ran into Magnolia Mountain's Mark Utley, who's in the teeth of planning the next Music for the Mountains benefit show. The second MFTM disc is chock full of traditional goodness and the album and the concert will raise funds to help eliminate the mining practice of mountaintop removal. As Mark noted, "Nature gives women the ability to forget about the pain of childbirth so they'll ready to do it again. That's how it was for me with this concert." The pain is always worth it, man (says the guy who's not feeling the pain) … good luck and God speed.
• And on my way out of Shuggie Otis, I chanced upon Jim Blase, co-owner of Shake It Records and quite simply one of the finest human beings I've had the pleasure to and good fortune to know.
• Lots of folks turned out for Mad Anthony's return, including Kelly Thomas, who was an architect of two benefit shows to help the boys get back on their feet (and who is actually collaborating with the band on some new songs, which should be awesome). Also in attendance was former MA bassist Dave Markey, and his ebullient mom, who may have been the biggest fan in the room; I'm pretty sure she knew the words to every song. It was a beautiful thing.
• Jim Blase was also hanging out at the Frontier Folk Nebraska show, obviously showing support for Travis, who still puts in some time behind the Shake It counter. I was about to head over to say hello again but ran into old friend Danny Rupe, who I never get to see anymore except at random and all to infrequent MidPoint shows. He put my digits and e-mail add into his Jetsons phone, so maybe I'll hear from him with a little more timeliness now.
• Slice, The Black Owls' Brandon Losacker, Dave Markey and Ringo Jones were all hanging at the Leogun extravaganza. I was looking for my Class X compatriot Eddy Mullet, who had designs on the show, but I didn't see him so his plans must have changed. God, I hope it wasn't a kidney stone; that's what derailed his Bunbury experience. After the show, I had a quick chat with Tommy and Matt from the band as they were packing up to go, and then Ringo and I closed the Mainstay, as he regaled me with tales of Mad Anthony, and promises that their new material is the best they've ever done. I know they'll prove it when the time comes.
The winners of the "Best New Artist" trophy at the most recent Cincinnati Entertainment Awards, DAAP Girls, will celebrate the debut of their new music video tonight at Japp's Annex on Main Street in Over-the-Rhine.
The spooky, visually arresting clip is for "Molly," one of the many great tracks off of the band's debut album, Tape Songs (every song has a girl's name). Shot at the Kenneweg Compound in Alexandria, Ky., "Molly" was directed by local visual artist Philip LaVelle, alongside graphic designer Josh Jacob and videographer Sean Steininger. The video is mesmerizing and matches up with the lurching, dreamy swagger of the song perfectly. It's fairly low-budget, but doesn't look it, with it's creatively captivating effects and overall vibe.
DAAP Girls guitarist/singer Stuart MacKenzie provided this synopsis of the video:
"The video tells a story of five young people on the cusp of adulthood enjoying a last weekend together. (Unbeknown) to them, they are being viewed by the ghosts of their future's past. The video incorporates aspects of romance, nostalgia and magical realism to tell an alternate, complimentary story to the song."
Tonight's new video celebration at Japp's kicks off at 9 p.m. with a DAAP Girls performance, followed by the screening of the clip at 10 p.m. The band will perform after the screening as well.
Here's a sneak peek of "Molly," followed by the video's creative credits:
Directed by Philip LaVelle
Filmed by Sean Steinger and Josh Jacob
Edited by Sean Steinger, Josh Jacob and Philip LaVelle
Special effects by Josh Jacob
Casting by Erica Turer
Catering by Joe Diedenhofer
Filmmed on location at Kenneweg Compound, Alexandria, KY
Special thanks to Josh and Stephanie Kenneweg
Cast: Cody Reinhard Amir Gamble, Zachary Müller, Sarah Davenport, Rosie Carpenter, Emma Roberts, and Allison Gathof
DAAP Girls is: Jay Duckworth, Stuart MacKenzie, Daniel Peterson, Alex Duckworth, Michael Felger, Collin Thompson, Brian Gilronan.
Those retro/modern/futuristic urban-gothic sonics are perfectly reflected in the brand new video clip for "Oxygen." The ominous video — written by Thomas Stemrich (Director) and Josh Chiara (Director of Photography) of local band Holy Beast — was shot over three days in Northside and Over-the-Rhine.
The nutshell synopsis of the video:
"In New Berlin, in the basements of post-industrial mansions, lost youths pray to shrines for nothing and participate in rituals that don’t matter. But tonight, one of New Berlin’s daughters is through with the minutia, ready to dive beneath the insincerity of cult posturing, and finally awaken the beacon of change that swells beneath the city streets. Will this be another lost night in Neverland or will she finally meet the beast of her dreams?"
Stemrich and Chiara have made other music videos, including "Night Drive" for the local act Polar Sky (Polar Sky and Skeleton Hands both record for locally based Racecar Productions). Sharfe says "Night Drive," and now "Oxygen," are unofficially akin to part of a "series," with the Polar Sky clip setting the "New Berlin" tone initially, and the Skeleton Hands' video taking it further.
"In the New Berlin videos, we see Cincinnati through a dystopic lens," Sharfe says. "Prostitutes, cults, deities, people with holes in their torsos. Strange stuff."
Skeleton Hands are currently taking pre-orders for copies of Gone on vinyl. Click here to get in on the action. "Oxygen" will be available as a single this fall through Racecar. The single release will feature remixes, including ones by Kontravoid and the aforementioned Polar Sky.
The duo also returns to the MidPoint Music Festival this year, coming up towards the end of September in various venues around Over-the-Rhine and Downtown. Skeleton Hands is slated to perform at 10 p.m. on Friday, Sept. 27, at MPMF venue Below Zero Lounge (on Walnut Street, next to Emery Theatre). Click here for MPMF tickets (or visit Fountain Square Friday night between 8-11 p.m., where you can buy tickets in person — one night only — for $10-$20 off).
The grand finale of the season-long MidPoint Indie Summer concert series is Friday on Fountain Square. It's always a bittersweet moment — the free series ends for this summer, but that only means that the MidPoint Music Festival is less than one month away.
The MidPoint Indie Summer series concludes just in time to kick off Labor Day weekend this Friday. The show is headlined by internationally beloved/locally based Why?, which is set to release its Golden Ticket EP in a few weeks. The EP is the result of some fan-engaging fun on the group's website.
On the Why? site, frontman Yoni Wolf explains: "We would write a theme song for one customer who came to the … web store and bought something every month. Like Mighty Mouse. It would be a song about that person. We’d read all about them on Facebook and Twitter, and sometimes even go so far as to contact their significant other to ask them questions. Then I would write the song on piano and my brother would take the skeleton of lyrics and piano and turn it into a fully realized arrangement.” (Read more on Why? here.)
(Wolf, by the way, has also been hosting his own very entertaining podcast called The Wandering Wolf (free for download on iTunes and Soundcloud). The show's have been hilarious and insightful, with Wolf chatting with guests like James McNew of Indie Rock legends Yo La Tengo, Cincinnati Hip Hop legend Mr. Dibbs and he and his brother's own father.)
Also at the finale, there will be a one-time only special on tickets to the forthcoming MidPoint Music Festival 2013. Those purchasing tickets in person at the Square Friday can buy three-day passes for $59 ($10 off) and three-day VIP passes for $149 ($20 off). Visit mpmf.com for the latest on the fest and mpmf.cincyticket.com for tickets (if you can’t make it Friday).
On June 4, one of the more beloved bands in Cincinnati (and, increasingly, the rest of the country), Indie Pop greats The Seedy Seeds, announced that they were going on "break" on their Facebook page. The post was worded to suggest this is an "indefinite hiatus" — the words "break up" were not used, but there's no sign of activity from the band on the horizon (fans are also leaving "R.I.P." messages on their Facebook page).
In the "break" announcement that sounds like a "goodbye" one, the trio writes, "While we each have new projects to which we must now turn our energies, it's very hard to imagine how to live any moments from this point on as anything but Seedy Seeds."
Some of those new projects have been making themselves known recently. Seed Margaret Darling has been performing her solo material regularly on the local club front and, yesterday, it was announced she has some touring in her immediate future.
The band Distant Correspondent, described as Indie Dream Pop and featuring members located in different cities around the world, announced that Darling will be joining them on their upcoming fall tour. The supergroup made itself known to the public earlier this year and received a lot of press right off the bat. The band features David Obuchowski from Brooklyn's Goes Cube, the U.K.'s Emily Gray (from British Post Rock crew and John Peel faves Meanwhile, Back in Communist Russia), multi-instrumentalist Michael Lengel on drums (whom Obuchowski met when he moved to Colorado) and Seattle bassist Tyler Wilcox, as well as fantastic Indie singer/songwriter Edith Frost (who is not touring with the band this fall).
Here's what Obuchowski had to say about bringing Darling into the fold:
Being in a band with members in different cities and even countries is pretty liberating. Sure, it's not always the easiest thing in the world from a practical standpoint. But the flip-side is that it affords us the opportunity work with musicians we love, even if they don't live close.
With that in mind, we're thrilled to announce that we'll be bringing along Cincinnati-based solo artist, MARGARET DARLING as our featured vocalist for our upcoming record release tour. We're big fans of Margaret's solo work, and her work in the now-defunct Cincinnati indie-pop powerhouse THE SEEDY SEEDS. In fact, when it came time to put together a show in Cincinnati for our record release tour, we asked Margaret Darling to share the bill with us before we tapped any other artist. Margaret's music (as a solo artist and with her former band, The Seedy Seeds) has been described as "dizzying, perplexing and wonderfully fun" (NPR), and "no less than impressive - intimate and addictive" (CincyMusic.com).
Darling is joining the tour as "guest vocalist," beginning on the opening date in Denver on Oct. 23, the day after the band's self-titled album is released through Hot Congress/Old Flame Records. Click here to check out the music video for the Distant Correspondent track "Summit."
Meanwhile, Darling's Seedy Seeds co-founder Mike Ingram has been busy as a road sound technician, but he has found time to work with a new collaborator, great local singer/songwriter/guitarist Jasmine Poole, who works under the name Wonky Tonk.
Ingram (who harmonizes and plays guitar) and Poole have been working on new Wonky Tonk material and, given their hectic schedules, they even created a cyber-concert for fans to check out while they wait for it.
Saturday at Mayday in Northside, the great Cincinnati Indie Rock band Koala Fires will be performing for the last time. But the band is also saying goodbye with a gem of an album, Doom of the Norns, the band's second full-length, which will be officially released tomorrow in conjunction with the show. The Fires will be joined by Chicago's Brighton, MA and Cincy's Jody Stapleton and the Generals. Performers from Cin City Burlesque will also entertain between sets. Doors open at 8 p.m. and admission is $7. (Koala Fires will donate half of their merchandise sales Saturday night to help relocate the women of the Anna-Louise Inn.)
Doom of the Norns is a compelling piece of art, an Indie Pop/Rock record with a hefty emotional weight. Singer/songwriter Matt Mooney's vocals have never sounded better, his honey-dipped instrument crooning the album's up-and-down tales of finding love and losing it. It's not a unique concept, but in Mooney's hands, it feels real, raw, somber and often explosive. (Mooney wrote the record to help him get through the demise of his 10-year marriage.)
Mooney and guitarist Ben Evans play beautifully off of each other, their intertwining fretwork creating a wash of dynamic sound. Drummer Matt Retherford and bassist Matt Zink fuel the songs with precision and a distinctive flair; Retherford's fiery yet intuitive playing, in particular, is a crucial part of the albums success.
But the heart of the album is the passionate songwriting. These are Pop/Rock songs, but Mooney's melodies wind in unexpected directions and the songs themselves are dynamically structured. "Grim is the Doom of the Norns" sets the tone, building with twinkling guitars and Mooney's voice showcasing that early-love "head in the clouds" state of mind, before ripping into a big, exuberant chorus. "Nuckalavee" bops along on a jaunty rhythm, undercut by cutting lyrics like, "Do you want control of me? That might be nice/But after years and years he'll escape one night/He will terrorize, drink tears from your eyes and then scare your pain away."
Mooney may just be one of the best Rock lyricists in town. The powerful "Valley of the Kings" begins with the lines, "There used to be a thousand ways to tear this down and start again/But, now it seems there's just one way and it involves a match and some kerosene." The album gets progressively dark, but the words aren't defeatist — they sound like the kind of lyrics someone would write to come to terms with the ending a long relationship. It's artistic therapy. By the last couple of tracks, there is hope and resolve.
There is emotion to spare on Doom of the Norns, but this ain't no wallowing Emo spew. Mooney delves into his despair and writes about it smartly and poetically, making it the kind of album that would fit in your record collection perfectly alongside LPs by The Afghan Whigs, later Superchunk and Cari Clara.
When you fall in love with Koala Fires after hearing this album (if you aren't already in love with them), don't be too sad. Mooney has a new-direction project in the works, Retherford and Evans play together in the Cincy band House of Feeble Minds and Zink is a member of up-and-comers The Future Strikes. The Fires will burn on. (Click here to purchase the album digitally.)
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. Click here for his previous blog entries.
Aaaaaaaaaaand we are done! Well, kind of …
After nearly two years of content creation, testing, editing, restructuring and discussion, I am very proud to announce that the content for Musicians’ Desk Reference is finally complete! There is still much work to be done ahead of the release — completion of web development, beta testing, marketing, promotions and more — but we are at least moving ahead, right on schedule.
It sounds cliché, but it is amazing to take a step back and realize how far this project has really come, in addition to considering how much it has forced me to grow as an individual. It all started with an idea that I simply could not let go of, despite my initial thoughts that The Counter Rhythm Group just could not handle taking on a project of this (theoretical) scale. I tried working around this notion from every angle, discussing it with an array of employees that have helped in our growth, and at the end of each reflection period I knew that we had to still move forward with the idea, any way we could.
Those that know me know that I am a planner. I like making lists — and especially checking things off of that list. I try to find structure in everything when at all possible, and more often than not I find myself asking, “Why?” I have no idea where this mentality came from and my immediate family has reaffirmed that statement over the course of the last few months. It is this mentality, combined with my passion for helping musicians that has provided the fuel for this journey.
I am so excited to share this vision with the world. While it sounds cheesy, I can promise you that every page has my heart and soul poured into it, and that it has been painstakingly been picked apart by myself and a dedicated group of contributors. We are truly aiming to provide the best information possible to be used for many generations to come. I have stated before in these blogs that this is by far the most involved I have ever been in a project — I never considered leaving a legacy, but I am starting to think that this could be it.
So what does this mean for the user? I can say with confidence that there is way more to this project than I ever could have imagined, and the fact that it still consistently “wows” me should be a testament to those who have been patiently waiting for the final product over the past several months.
While the eBook is completely customizable to each individual and scenario, I can honestly say (to those who are interested) to get ready to spend some time reading and considering the subject matter. We have meticulously worked to build the documentation so that it touches base on certain generalities and specifics, offering clarity and understanding on the matter without requiring several days’ worth of reading. I am not a big fan of lengthy reading materials and our generation tends to be intimidated by large batches of text — the sole reason we have invested so much time and resources into a digital platform. To state it conservatively, it will take an artist some time to work through the entire project, which is meant to serve the user through several areas of their career as they develop and grow.
We are so close to being able to put Musicians’ Desk Reference in your hands that I honestly have a hard time sleeping at night. Looking ahead, we will be receiving a beta version of the eBook within the next week and we have many users lined up to participate. If you are interested in being considered for a beta trial, please send an email to firstname.lastname@example.org.
September is when things start getting really exciting, as we are pulling out all of the stops for this release. Without going into too much detail, I can say that we will have an established presence at the Midpoint Music Festival this year, and that this will be the first time the eBook will be available for purchase (acting as our “soft” release, exclusively to those physically at the festival). Pre-orders will be available in early September and are expected to ship the week after MPMF. This will all build up to our national release in October at the CMJ Music Marathon in New York City, where we will be also have a significant presence. There are many more things in the works; I promise that it will all be worth the wait.
I would like to close by thanking all of those that have shown support throughout this process, to The Counter Rhythm Group and to myself. While this is not the time to name anyone individually (that comes later), I want you all to know how much it means to us. Your continued support will help us through the coming months and we hope you will join us in spreading the word about Musicians’ Desk Reference. We have literally put everything we can into this project, and we are proud to say that we were able to build it while living in this great city, utilizing most outsourced services to companies and individuals located in the Queen City. We want to make a significant impact in the music industry, and I look forward to proudly telling anyone and everyone where it all started — right here in Cincinnati.