In a lot of ways, Cincinnati's Over the Rhine belonged to the world almost as soon as they birthed its spectacular debut album, 1991’s Patience. There wasn't really an evolutionary period involving chops-honing and building an audience with local bar gigs every weekend before becoming a songwriting and performing powerhouse that could stand toe-to-toe with its peer group on the national level. Karin Bergquist and Linford Detweiler sprang fully formed from Zeus’ forehead as a mature and supremely talented duo with the undeniable ability to mingle heartache and joy with words and music and find an indelible way to invest each emotion with a taste of the other.
This year the weather was beautiful and the bands did not disappoint. Dust storms formed in mosh pits as fans enjoyed the show.
Leading up to the show we sat down with Jacoby Shaddix, the lead singer from Papa Roach, to discuss the festival, their new record, and how to keep a marriage strong.
Holidays are especially exciting times for children and, given the recent tragedy in Newtown, Conn., kids all over will likely be going to be getting a little extra love this season.
Zak Morgan knows kids. The Cincinnati-based singer/songwriter has already had an amazing career in children’s music, with his second self-financed album, When Bullfrogs Croak, earning numerous awards and acclaim, including a 2004 Grammy nomination for Best Musical Album for Children, a remarkable feat for an independent artist.
Morgan’s accomplishments and hard work (he notches over 200 shows a year for kids across the country) paid off with a contract with Universal Music’s kids’ music imprint, myKaZoo Music. His debut for the label, The Barber of the Beasts, came out in late October and would make a fantastic stocking-stuffer for the little ones this Christmas.
Like his previous releases, The Barber of the Beasts features artwork by famed local illustrator C.F. Payne and contains an extensive booklet of lyrics and drawings. The album also features some notable guests, from local musicians like Dan Dorff, Paul Patterson and Josh Seurkamp to nationally acclaimed artists like Robbie Fulks and locals Karin Bergquist (Over the Rhine) and the iconic Bootsy Collins.
But it’s Morgan’s magical stories and songs that are the focal point. There is a perfect formula for children’s music; like with kids’ films these days, many artists try to hard to make their albums “parent friendly” and tend to go overboard, while those who “dumb things down” tend to be the most annoying. Morgan’s gift is finding the perfect balance.
The Barber of the Beasts is for smart and imaginative kids and parents, seeming designed to be enjoyed together. Morgan is great with clever word play and he isn't afraid to drop a few “big words” (or at least unfamiliar words). That’s where the booklet’s excellent vocabulary guide comes in handy. Parents can go over words with their children, who will have not only been entertained by Zak’s fantastical storytelling, but will also learn something in the process.
Many of the tracks on Barber feature gorgeous chamber string arrangements, but there are also tunes like “Snow Day,” on which Morgan channels his inner Tom Waits (vocally), the shuffling, jazzy Pop cut “Swinging On A Star,” the Country-esque “Nancy Jane” and the great Bootsy collaboration, “The Case of the Dry Markers,” a swingin’, “spooky” Jazz struttin’ mystery with a Halloween vibe.
Here is the debut music video from the album for "The Case of the Dry Markers":
The songs and music are elegant and often downright majestic (particularly the ones with the spine-tingling string arrangements), while Morgan’s clever stories are loaded with a silliness that the young listeners will gleefully embrace.
I believe The Barber of the Beasts (which will specifically appeal to kids between around the ages of 1-8, but certainly fits the "fun for kids of all ages" bill) was released in time to make next year’s Grammy nominations. It will be a crime if it doesn’t make the cut. When it comes to children’s music, Zak is like the Bob Dylan of the genre — minus the curmudgeonly grumpiness, of course.
This Saturday at 1 p.m., Morgan and a host
of special guests will present the local release party for the album at
The Monastery recording studio (2601 Stanton Ave., Walnut Hills), the
performance/recording space owned and operated by producer/guitarist Ric
Hordinski (who also performed on, produced and co-wrote material on the album).
Tickets are available through brownpapertickets.com for $10 (or $20 for families of two-five people). Remaining tickets will be available at the door the day of the show for $15 (or $25 per family). Your ticket also includes food and admission to the post-show pizza party.
So this is how the music industry works in the 21st Century: Without a hint of radio support, Angels and Airwaves (AVA) with opening act Say Anything got 1,500 faithful fans to show up for a Rock & Roll show here in Cincinnati.
Thank you, Mr. Internet.
Veteran singer/songwriter Maurice Mattei and his band The Tempers celebrate the release of their new CD, Mauled, this Saturday at The Redmoor in Mount Lookout. The show will feature an opening set by local Surf Rock band, Don’t Fear the Reverb, plus appearances by David Wolfenberger, Mike Helm, Brandon Dawson, Sharon Udoh and more.
I love the first night of MidPoint; the anticipation, the excitement, the friends, the music, the potential for getting wetter than you’ve been since the birth experience. It’s magic, a sensation perhaps intensified on Thursday, being the first night of the festival’s tenth anniversary.
It’s no secret that Chicago is a great place for music. Pretty much any touring band of note — and no doubt many a musical outfit that need not be noted — is sure to include a Chicago stop, and the city’s local scene remains rich and diverse, aided by a host of nurturing venues and an eager, uncommonly discerning base of listeners. That it’s only a five-hour drive from Cincinnati makes it an enticing destination for those of us who yearn to catch shows that skip the Queen City.
Chicago’s embarrassment of musical riches has only grown in recent years with the addition of two high-profile three-day summer festivals: Lollapalooza and Pitchfork. The former needs little introduction — Perry Farrell’s unexpectedly fruitful brainchild is, almost undeniably, the inspiration for the explosion of summer fests over the last two decades, a trend that has grown even more robust since the turn of the century. Every weekend each summer now features at least one festival worthy of audiences’ ears. The trend has even reached Cincinnati, where Bunbury just finished its second successful year — and shared a headliner with Pitchfork. (Whether outdoor settings, marked by often difficult weather conditions and bright sunlight, is the best way to experience the type of music offered at such festivals is a different question.)
Lollapalooza is, alongside behemoths Coachella and Boonaroo, one of America’s biggest and best-attended summer fests, boasting more than 130 artists and an audience in excess of 150,000. Pitchfork, meanwhile, has quickly established itself as a singular presence on the summer circuit, a discerningly curated endeavor that’s an extension of the influential, taste-making webzine that runs it. (Chicago-based Pitchfork.com took over the business side of the fest in 2006 after curating 2005’s initial gathering, which was then called the Intonation Festival). Set in Union Park — a modest city-block space just west of downtown Chicago — Pitchfork now features nearly 50 artists, many of which are still unfamiliar to all but the most plugged-in Indie music connoisseurs. (Ironically, as a champion of cutting-edge acts on the way up, Pitchfork also serves as an early snapshot of future Lollapalooza lineups.)
This year’s Pitchfork, which ran July 19-21, offered one of its most curious lineups to date, especially as it pertains to the headliners, which included Bjork, Belle and Sebastian and, somewhat controversially, R. Kelly. Sure, there were several typically lesser-known acts on the bill, but almost all of them graced the Blue Stage, the smallest of the fest’s three stages. Whether this year’s more accessible bill might have been a reaction to last year’s fest, which gave relatively high-profile slots to such interesting but largely faceless artists as AraabMuzik, Purity Ring, The Field, Big K.R.I.T., Hot Chip and Chavez, among others, is anyone’s guess, but a realignment of sorts from Pitchfork’s powers that be seems plausible.
More proof of a possible shift in booking philosophy: There were more veteran acts than ever this year. Beyond the headliners, each of which has been making music for more than two decades, there was Wire, The Breeders, Swans, … And You Will Know Us By the Trail of Dead, Low and Yo La Tengo. The only comparable 2012 act in terms of longevity — admittedly not the best gauge when it comes to creative vitality, but we’re talking audience-drawers here — was Godspeed You Black Emperor, which headlined along with Feist and Vampire Weekend. All are solid acts, but none of them are likely to perk the senses of those looking for a little “star power.” Enter Kelly, one of the era’s preeminent hit-makers (more on that later).
As usual, many of Pitchfork 2013’s most interesting artists emanated from the Blue Stage, which is the most intimate of the fest’s three stages — the larger Green and Red stages (note the refreshing lack of corporate branding, another sign of Pitchfork’s discerning nature), which are but 50 yards (or so) apart, alternate acts at the north end of Union Park, while Blue’s lineup overlaps with the other two. Tucked into a tree-laden area of the park’s southwest corner, the Blue Stage is something of a festival unto itself, its cozy confines offering a break from the spacious, open-air spots where the Green and Red reside.
Multiple Blue Stage artists delivered strong sets, including Frankie Rose, a former Dum Dum Girl whose latest album, Interstellar, is a Synth Pop gem that wouldn’t sound out place alongside Beach House; Mikal Cronin, a little ragamuffin of a guy whose latest album, MCII, is a Power Pop keeper; Angel Olsen, whose Americana-flavored songs and swoon-worthy voice and visage compelled much of the audience during her late-afternoon slot; Metz, a Canadian trio coming to Cincy for this year's MidPoint Music Festival in late September, whose terse songs roared even more righteously in a live setting (think Nirvana on fast-forward); Minnesota mainstays Low, who seemed oddly out of place but still effective in the early evening light; and Trash Talk, a Hardcore crew from Sacramento, Calif., whose long-haired frontman delivered the funniest line of the fest after noticing a number of “old people” in the relatively sparse Friday-afternoon crowd: “I like old people. Old people make the world go around. They fucking had us and shit.”
Best of all — or at least the biggest surprise — was Brooklyn-based Post Punk quartet Parquet Courts, whose playful, twisty tunes recall everyone from early Pavement to the Minutemen to a far less trashed Guided by Voices. Frontman Andrew Savage’s voice is thin but endearing, and his dynamic guitar interplay with fellow frontguy Austin Brown had more than one rapt audience member shaking their ass in the Saturday-afternoon sun.
One got the sense that the Parquet Courts dudes would have been just as happy performing on the street corner just beyond the fence behind them. The fact that they had a much bigger platform to deliver their slanted gospel is just one example of what has made Pitchfork so vital for those looking to experience something rawer and less polished than the acts that dominate other festivals. (Go get Parquet Court’s recent full-length, Light Up Gold, as soon as possible.)
Even the Blue Stage’s less successful performances were compelling in one way or another: while Julia Holter, Ryan Hemsworth, Andy Stott and Evian Christ — the latter three DJs who essentially stand behind a table — have issues in the area of crowd interaction and sometimes suffered from spotty sound mixes, each was able to convey its mood-altering music in ways that, at the very least, provided sonic respites from the relatively more conventional acts at the bigger stages, whose roar often bled into the Blue’s.
On to the two main stages, which drew large, unusually enthusiastic crowds all weekend. Long a champion of adventurous Hip Hop, Pitchfork again featured some intriguing purveyors of the form, most notably Sunday sets by Killer Mike and El-P. The pair released two of the best albums of 2012, and their stellar recent collaboration, dubbed Run the Jewels, dropped as a free download in June. After a sweaty set in which Mike ran through songs from his R.A.P. Music — including strong versions of the title track and the politically cutting “Reagan” — he joined his buddy El-P for a batch of Run the Jewels cuts that mixed verbal dexterity with a healthy dose of levity. Their record, simply titled Run the Jewels, is something of a break from the duo’s doomsday aesthetic as solo artists — Jewels is an exuberant, sonically diverse fun-ride that makes light of Hip Hop’s silly preoccupation with bling (the two performed with fake gold chains around their necks), among other Pop-culture oddities. (El-P later tweeted, “I’ll just go ahead and say @pitchforkfest is the most chill, fun ass festival around right now.)
Run the Jewels was an interesting transition into a set from the ever-vital Yo La Tengo, which mixed choice cuts from its vast back-catalog (including sweet reworked versions of “Autumn Sweater,” “Tom Courtney” and “The Hour Grows Late”) with several tunes from the New Jersey trio’s latest record, Fade. As usual, they didn’t interact much with the crowd, though frontman Ira Kaplan, who dropped in several impressive guitar freak-outs, did joke that it was “good to be opening for R. Kelly again.”
The fest’s most curious social-media-stirring moment occurred Sunday evening as M.I.A., amid a garishly colorful backdrop of spinning wheels and neon lights, unveiled songs from her forthcoming album, Matangi. A sea of cell phones rose to record her entrance; many stayed aloft throughout. It was a departure in audience etiquette — somewhat unexpectedly, much of the festival was free of such ubiquitous use of technological interference.
Clad in a flashy gold top and orange short-shorts, M.I.A. stalked the stage, often with dancers at her side, as bass-heavy Dance-Rap arrangements thundered through the ample soundsystem with almost netherworldly force. The ceaseless sonic assault pretty much drowned out whatever she might have been trying to convey in her new songs — which, based on the spottiness of her previous record and the delayed release of Matangi, might be a good thing. Only when her set was interrupted by technical glitches did she seem spontaneous or even all that engaged. It was a weird, disjointed set, the kind of whiz-bang spectacle that rarely rears its head at Pitchfork.
In contrast, Savages Saturday afternoon appearance was a model of lacerating intensity. The buzzed-about British quartet — whose recent debut Silence Yourself is a satisfying blast of atmospheric Post Punk — was one of the most anticipated acts of fest. They didn’t disappoint, delivering blistering versions of “I Am Here,” “She Will” and “Fuckers,” a new song about not letting the “fuckers get you down.”
Jehnny Beth is a captivating frontlady, her no-bullshit stare and frequent high-pitched yelps lifting the music’s familiar elements — everyone from Gang of Four and Patti Smith to Siouxsie Sioux and PJ Harvey come immediately to mind — to uncharted heights. More unexpected was the band’s tendency to evoke ’80s-era U2, which isn’t necessarily a bad thing. Even more curious was Beth’s evocation of Ian Curtis, both in terms of her appearance (lean with close-cropped hair) and in some of her mannerisms (as if the music were transporting her somewhere beyond the stage).
Michael Gira, Swans’ longtime ringleader, was impressed,
asking the audience, “How about them lady Savages?” before clapping in
appreciation. Gira’s band immediately followed Savages, and it was an
apt pairing, like opposite sides of the same coin. His crew of gifted
Post Punk vets — which includes a hairy multi-instrumentalist named Thor
and a suave German slide-guitar player who looks as though he’d be
right a home in a David Lynch flick — conjured an unholy racket during a
truncated version of “The Seer” and offered an inspired take on
“Oxygen,” which featured Gira doing a spooky Indian-like dance
throughout. While it was odd to witness Swans’ menacing, ebb-and-flow
soundscapes in broad daylight, the outdoor setting still left those in
attendance vibrating long after the band’s final drone leaked from the
That brings us to the three headliners. The festival’s mission — it attempts to highlight the most adventurous, zeitgeist-channeling acts on the current landscape — makes choosing an anchor to each day’s events a challenging dilemma for Pitchfork organizers. Given the esoteric nature of many such music-makers, there are only so many high-profile acts that fit the typical “headliner” criteria. Past choices have included such Alt-Rock mainstays as Flaming Lips, Spoon and Sonic Youth to more contemporary entries in the canon like TV on the Radio, Animal Collective and LCD Soundsystem.
Pitchfork even had Yoko Ono headline one year, which makes the choice of R. Kelly as Sunday night’s festival-closer even odder one on multiple levels. First, there’s the fact that Kelly — no doubt one of the most important R&B artists of the era, and a Chicago native to boot — is the most mainstream artist the festival has ever booked. Second, and far more troubling for many, is Kelly’s reputation as a serial misogynist who never got the legal reprimand he deserved.
The most vociferous critic has been longtime music writer Jim DeRogatis, who broke the story of Kelly’s indiscretions while working at the Chicago Sun-Times in 2002. DeRogatis called Pitchfork’s decision to book Kelly and the subsequent excitement from “some (not all) paying customers” as being “fueled by irony.”
No doubt there are legitimate questions about how an artist’s personal issues should impact the way in which we experience their music, but, for better or worse, those knotty questions were not going to be answered during Kelly’s Pitchfork set.
In fact, based on the reaction of those in the massive crowd — probably the festival’s largest ever — irony was not as prevalent as DeRogatis wanted to profess. The overwhelming majority of those in attendance, which ranged from fortysomething African-American couples to teenage hipsters, seemed genuinely excited to be taking in Kelly’s sextastic jams. The performance itself, meanwhile, was largely standard-issue R&B stagecraft, as Kelly ran through much of his extensive songbook medley-style (38 songs!). Not even a steady drizzle of rain could dampen the mood, as many swayed and sang along straight through to a set-closing version of “I Believe I Can Fly,” which was accompanied by the release of dove-shaped balloons.
If Kelly’s presentation was fairly straightforward, Bjork’s closing set on Friday was anything but. Or so it seemed — unless one was within 75 yards of the stage, it was hard to see what was going on besides fleeting glimpses of Bjork’s elaborate headgear, which looked like a porcupine lit up from within. Worse, the two video boards that flanked the Green Stage were mounted too low, rendering them almost useless to those they should intend to aid.
No matter: Bjork’s expressive voice was just as fluid and otherworldly as one would expect on slightly reconfigured versions of “Hunter,” “Joga” “Pagan Poetry” and “Army of Me.” When rain and pending lightening and thunder prompted festival organizers to pull the plug after an hour, Bjork responded with this curio: “It’s calm. I don’t know. This wouldn’t be much in Iceland, I can tell you that much.”
It also rained on Belle and Sebastian Saturday night, but not enough to cut short what was the festival’s most overt nod to nostalgia. The Scottish crew ran through a career-spanning set that crested early with rousing versions of “I’m a Cuckoo” and “The Stars of Track and Field,” which had more than one thirtysomething couple embracing amid all the tuneful sweetness.
Fifteen years ago, if you heard about a young, new Ska/Reggae band releasing an album, you’d be forgiven for thinking the crew played some variation on so-called Third Wave Ska, the Punk-driven, Ska-tinged sound popularized by The Mighty Mighty Bosstones and others. But if you subscribe to the belief that music lovers and makers often turn to more pure forms of music in times of societal uncertainty (as some say is the case with the Indie Folk movement), The Newport Secret Six’s dedication to the earliest forms of Reggae and the authentic sound they come up with should be no surprise. There are no distorted guitar or gang-vocal shouts on Licking River Rocksteady. It’s simply a fantastic modern Reggae album bustling with energy, soul, personality and tradition.