After 96 consecutive hours of baking in the Tennessee heat and humidity, walking from stage to stage to take in as much music as possible and drinking and dancing sometimes from noon until dawn, even your third and fourth shower after returning home from Bonnaroo can be like a religious experience. Though the festival itself gets under your skin in a way that one does not necessarily wish to ever wash away. Indeed, coming down after the festival, returning to the mundane realities of everyday life, can be a difficult proposition for hardcore Bonnaroovians struggling to simply settle back into their daily routine on planet earth.
The fourth and final day of Bonnaroo 2014 found (photographer) Chuck (Madden) and I sun-dazed but smiling, still eager to soak up and savor every bit of music we could. Among the few campers stirring that murky morning, I woke early and wandered the eerily empty festival grounds well before noon. I’ve attended the festival six times since 2006, but Sunday morning was the first time I rode the Bonnaroo ferris wheel. After an hour or so of tapping away on my trusty laptop in an empty press tent, the ferris wheel ride gave me an opportunity to chill and be still for a few minutes, surveying the scene from a bird’s eye view. A crowded cornucopia of bright lights and loud music after dark, it was both surreal and serene to view the Bonnaroo festival grounds silent in the morning.
The silence wouldn’t last. Even before I disembarked from the ferris wheel I could hear Lucero doing their soundcheck on a stage that I could barely see in the distance.
Chuck’s day began with a pair of bands he would be raving about for the rest of the afternoon: Kansas Bible Company on the tiny On Tap Lounge stage and much-talked-about new arrivals Lake Street Dive in That Tent, where a surprisingly large crowd had already gathered for the band’s 1 p.m. start.
Cloudy skies and occasional drizzle kept temperatures tolerable for the first three days of the festival. But Sunday was all clear skies and blazing sun, sending temperatures into the 90s for most of the day. Always an endurance test, Sunday at Bonnaroo 2014 was a brutal trial for the thousands on site who were forced to either hydrate, hunker in the shade, or both, until the sun relented in the early evening. But shade is not easy to come by at Bonnaroo, and sitting in a hot tent is no kind of relief whatsoever. Sunscreen, long sleeves and floppy hats ruled the day. Experienced Bonnaroovians are well-familiar with the physical demands of the festival. It just so happens that after three days of relative ease and comfort, Sunday’s weather conditions upped the ante on a panting throng already sunburned and exhausted.
Arguably some of the finest acts on the Bonnaroo lineup were featured on the festival’s final day, as Bonnaroo attendees were treated to phenomenal sets by Broken Bells, The Avett Brothers, Fitz and the Tantrums, Carolina Chocolate Drops, Arctic Monkeys, Shovels & Rope, Washed Out, Wiz Khalifa, The Lone Bellow, Okkervil River and an afternoon performance by Yonder Mountain String Band on the main stage that featured Bluegrass legend Sam Bush on violin.
This writer tumbled into the Other Tent just in time to catch a rousing set by Those Darlins. Like Nashville’s Wild Feathers before them on the weekend itinerary, this was sort of a hometown gig for Those Darlins, a band whose founding members met at a Rock & Roll camp in Murfreesboro, Tenn. A sparse but dedicated crowd happily held lead singer Jesse Zazu aloft as she tumbled over the barricade and into the audience. Laying back on a sea of fans’ hands, her guitar squall raged unabated at full steam as her eyes rolled back in her head. (Those Darlins play a free show in Cincinnati this Friday, headlining Fountain Square’s MidPoint Indie Summer concert.)
After a ridiculous amount of pre-gig hype, the controversial Kanye West’s Friday night performance delivered nothing but disappointment to a Bonnaroo audience that should have known better to have expected anything more. Saturday headliner Jack White and Sunday’s top dog Elton John showed that good material and passionate, substantive performances will always trump shallow arrogance, hype and bullshit. To Mr. West, who once claimed himself to be “Shakespeare in the flesh,” I submit this famous quote from Macbeth:
“Life’s but a walking shadow,
A poor player,
That struts and frets his hour upon the stage,
And then is heard no more.
It is a tale
Told by an idiot,
full of sound and fury,
Of far greater significance than this writer expected was a stellar Sunday night performance by Elton John, who reeled off one classic after another to close out Bonnaroo 2014. I knew Elton’s set would be great, but I was not prepared for just how truly amazing it was. With a band featuring guitarist Davey Johnstone and drummer Nigel Olsson, who have been with him for 45 years (you read that right), Bonnaroo 2014 was Sir Elton’s first-ever appearance at a U.S. festival. Opening the show with Side One of his classic Goodbye Yellow Brick Road album from 1973, Elton proceeded with a version of “Levon” that concluded with a virtual clinic on Rock & Roll piano playing in the extended outro. Though I was dubious at first about Elton closing out the festival, this two-hour performance instead turned out to be such a stunner that I know I will forever count it among my all-time favorite Bonnaroo memories.
Thanks again to CityBeat for this amazing opportunity and to Chuck Madden whose concert photography is simply the best and whose friendship and company are a big part of what makes the Bonnaroo experience so meaningful to me.
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.
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.
This morning’s activities were as hectic as a hurricane as I jumped from one interview to the next in the Bonnaroo press compound.
Things started off nice and easy when I rendezvoused with a friend of a friend who is Lionel Richie’s stage manager. An industry veteran of many years, Sal Marinello has worked for Barbra Streisand, Metallica, Neil Diamond, Britney Spears and many more. Large festival stages like Bonnaroo are equipped with lights and sound, so Marinello’s workload and schedule today are not as demanding as a typical day on the road. Marinello and his crew arrived in the wee hours this morning with one truck instead of the usual seven. Main stage headliner Jack White’s line check completed and his gear rolled to the side of the stage by 8 a.m., Sal and his staff had Lionel’s gear in place onstage for their line check less than an hour later. (The rest of the day’s main stage performers will set up and perform in front of Lionel’s gear.)
The noon hour brought a flurry of activity that had my head spinning pretty much for the rest of the day. Nashville’s Wild Feathers returned on the red eye from St. Louis to do a three-song acoustic performance in the press tent that found the band looking ragged but sounding great as ever. Their material is strong, their performance was spirited, and their three-part whiskey tenor harmonies were crystal clear as ever. But they sure did look tired. Scheduled to play at noon, they were running late and had to jump right on the stage and burst into song immediately upon their 12:30 p.m. arrival.
Chatting with Ben Kaufman, Adam Aijala and Dave Johnston from Yonder Mountain String Band, I found the trio cautiously optimistic about moving forward after the recent departure of mandolin player and founding member Jeff Austin. Not that I expected them to be in a full-blown panic, but it was impressive to hear the calm in their voices as they discussed their future options with no apparent concern about securing a permanent replacement for Austin. Bluegrass legend Sam Bush joined Yonder for their 2:30 p.m. set on the main stage today. For their summer tour they’ll be joined by Jake Joliff on mandolin and Ally Kral on violin. (Yonder Mountain String Band plays Moonlight Gardens at Coney Island on the Fourth of July.)
The Flaming Lips brought a whole new freak rock spectacle to Bonnaroo this year and frontman Wayne Coyne was bouncing around the press tent talking to reporters for a couple hours yesterday. Spirits high and eyes aglow, Wayne happily made the rounds. The man loves to talk and this writer spent a dizzying 10 minutes with Coyne, discussing their brilliant new record The Terror. The band’s 12:30 a.m. set on the Which Stage was an explosive spectacle of lights, confetti, balloons, and dancers in costume, with the fiendish ring leader Wayne in the middle of it all looking like an evil super villain dressed in red tights with a shiny silver codpiece. (The band is one of the headliners of Cincinnati's Bunbury Music Festival this year.)
It’s not the first time I’ve seen Coyne dominate a press conference here; yesterday he spoke excitedly about The Flaming Lips’ desire to always bring something special to the Bonnaroo stage.
“If you’ve been here for three days and you’ve already seen 50 bands,” he said, “you wanna see something different. So that’s why (in 2007) we decided to land a spaceship here.”
Cool as a cucumber in spite of the summer heat penetrating the crowded tent during an early afternoon press conference, Derek Trucks fielded a question about the size of the Tedeschi-Trucks band. “An 11-piece band is a lot like herding cats.” Then he quietly mumbled the unintentionally Zen aside: “But it’s better than 30.”
Still buzzing from my conversation with Wayne, I scampered out into the crowd to catch Southern rockers Blackberry Smoke on the Which Stage. This was one of my personal Top 3 must-see bands of the weekend. It was gratifying to see the young Bonnaroo audience embrace a band that has more in common with their grandparents’ record collection than what many probably have on their current iPod playlist. I stopped to say hello to Blackberry Smoke singer and guitarist Charlie Starr after a 4 p.m. press conference and we discussed some of our favorite early Blues singers. I feel confident that he and I were probably among the very few here at Bonnaroo chatting about Ishman Bracey.
From there the day just got crazier, as the Saturday schedule was packed with stellar artists, including Valerie June, Drive-By Truckers, Phosphorescent, Lauryn Hill and Seasick Steve who boasted none other than Led Zeppelin’s John Paul Jones on bass. Walking through the crowd I heard Cake play a spot-on cover of Sabbath’s “War Pigs,” with the guitar solo section cleverly transcribed for the horn section.
After a late afternoon breather back at the campsite, I wandered through Bonnaroo’s famous archway entrance to catch some of Lionel Richie’s set. My timing was perfect. As soon as I walked through the gate he launched into the Commodores’ “Brick House,” a Bonnaroo performance I’d been looking forward to for months. Again I found it gratifying to see the young audience dialed into Richie’s performance as he pulled out one classic song after another. You can imagine how his ’80s gem “All Night Long” had the dancers moving. This was a moment of such heartwarming cross-generational bonding that it gave me goosebumps in the humid Tennessee night.
Last night’s main stage headliner Jack White nearly tore the stage in half, bringing an explosive thunder and fury that’s largely missing from Rock & Roll these days. One of the most highly-anticipated sets of the weekend, Jack and his crack band did not disappoint. A frantic and fiery performer onstage, he was straightfaced and serious, as if in character, throughout a bombastic set that stretched well over two hours. White has called Nashville home for several years now and he brought noise to these Tennessee hills last night like no one ever has before. An all-out stunner from the first song all the way through to the last note of several encores, this was unquestionably one of the most memorable performances in Bonnaroo’s 13-year history.
And believe it or not there is still more to come. Today is the fourth and final day of Bonnaroo 2014. Photographer Chuck Madden and I must bear in mind that it’s a marathon, not a sprint, as we endeavor to take in performances today by Lucero, Lake Street Dive, Okkervil River, Carolina Chocolate Drops, Arctic Monkeys, Broken Bells, Washed Out, Yonder Mountain String Band, The Avett Brothers and more. The legendary Elton John will close out the fest tonight.
Thanks to CityBeat for making this all possible! Chuck and I would like to extend a special thank you to CityBeat photographer Jesse Fox who was a big help to us this weekend.
Only 361 days ‘til Bonnaroo 2015!
The gods of Rock must have known that Alice In Chains was in town on Saturday, May 17 as the area around the Horseshoe Casino was dreary, cloudy and cold. It’s as if they transplanted a little bit of Seattle into downtown Cincinnati for much of the day. Luckily the rain held off for the show, allowing the sold-out crowd to bear witness to a classic Grunge act proving just how energetic and relevant they still are.
Canadian quartet Monster Truck kicked off the show before the advertised 8 p.m. show time, meaning a large number of fans missed out on much of the band’s set. But the fans that did get to catch Monster Truck’s Southern-fried Rock were in for a treat. These denim-clad and bearded boys sound like they’re from Georgia more than Ontario, playing rippers that would make Lynyrd Skynyrd raise their beers to the sky. Monster Truck’s shirts read in big, block letters: “Don’t Fuck With The Truck.” After their set, I doubt anybody considered doing so.
Monster Truck’s set was a great warm up for the main attraction, but the crowd was really there for one reason and one reason only. At 8 p.m. sharp, as the opening lines to “Them Bones” rumbled through the stacks, Alice In Chains stormed the stage to prove exactly why they can still sell out venues almost 30 years after their formation. Vocalist/guitarist William DuVall (who joined the group after original frontman Layne Staley’s death in 2002) brings a constant energy and dynamic stage presence that revitalizes not only the crowd but his own bandmates. Bassist Mike Inez and guitarist/vocalist Jerry Cantrell became visibly more active and engaged whenever DuVall entered their stage space.
This isn’t to say that the old school members were slacking. Inez and drummer Sean Kinney still banged out rhythms that probably made the Horseshoe’s windows quake a bit. And Cantrell plays the hell out of his guitar, playing through Alice In Chains’ iconic riffs with such power and intensity, it’s obvious that his newfangled haircut didn’t cause a Metallica-esque loss in Metal credibility.
The set featured a mix of classics like “Man in the Box” and “Rooster,” deep cuts and hits from the DuVall albums like “Check My Brain,” insuring that fans of all eras happy. Even casual fans such as myself (my set list notes have more question marks than actual song titles) had plenty to latch on and sing along to. The trio banged out each song so powerfully that even unfamiliar tracks came across as timeless classics.
The band’s interaction with fans is particularly notable as well. DuVall made efforts to point out fans who were truly enjoying the show, Cantrell invited a father and son up on stage because of the child’s enthusiasm in the front row and Kinney had the crowd call a lawyer’s office whose billboard was in his sight line for the entire performance. Judging by all the screens floating in the air, I feel bad for their receptionist.
As the show wound down and Alice In Chains played their encore, consisting of “Don’t Follow,” “No Excuses,” and “Would?” the crowd slowly filed out and were greeted by a group of religious protesters touting the dangers of gambling and Rock & Roll (sex and drugs were noticeably absent from their complaints). They were largely ignored but after the hour and a half concert experience that I’d just been a part of, all I felt was a bit of pity for them. They missed one hell of a show.
The air may have been Seattle cold but after almost three decades and five albums, Alice In Chains are still white hot.
Ellie Goulding killed it Wednesday night at Horseshoe Casino Cincinnati’s outdoor venue The Shoe. By noon the next day, I was still recovering. I’d feel old, but it’s a sentiment I heard echoed from others who have seen Goulding live.
She sucks all the energy out of you in the absolute best way possible. If her driving, pounding music isn’t enough to propel you to dance, Goulding herself will. From rolls and swishes (oh, to have those abs) to doing the Running Man, for a girl who claimed she’s awkward about dancing, her moves were on full display. She was basically a blonde ball of energy and emotion, ping-ponging across the stage. The crowd fed off that energy and unleashed their own. My feet were trampled, my boobs were elbowed and some very skinny dude almost dropped his girlfriend on my head (twice). And it was awesome!
I’ve often sulked about the lack of enthusiasm at shows from Cincinnatians, but I cannot make that complaint about the Goulding concert. Whether it was the exact right mix of younger people or the fact that Goulding just happens to have cool fans, something made the gathering last night much livelier than your average show. People danced, flailed and jumped with abandon. Even during “Your Song,” kids who were surely not around when Elton John’s original version was released sang along with abandon while drunk guys tried light-heartedly to woo the closest girl.
I must give props where they are due, too, and I’d be remiss if I didn’t mention the sheer perfection of The Shoe. Upon hearing that such a madly loved and wildly popular performer was playing The Shoe (with a capacity slightly smaller than my former high school’s enrollment), it seemed not quite right. In retrospect, I couldn’t think of a more fitting venue. A larger venue would have sucked. For instance, the seating angle at Riverbend may be optimal for viewing the stage, but it quickly creates a lot of perceived distance for the performers. The Shoe, sunk down in an impeccably landscaped hole on the edge of downtown and sandwiched between two taller buildings, felt infinitely more intimate. Even when I couldn’t see the actual bouncing blonde head on stage and had to watch the Jumbotron instead, it just felt right.
Whatever your excuse for not being there, I’m judging you. I’m guessing it’s for the best, though. You probably would’ve stood around nodding and not dancing. But, you missed out. Goulding is a cold-blooded killer on-stage. She kicks asses into dancing mode, leans way, way, way back and pulls in all the energy from the audience to get her through the night. Nearly 4,000 people happily offered up their life source for her reaping. Hopefully most of them were lucky enough to sleep in the next day.
An EP can serve several purposes — a stopgap release between full-length releases; fresh merch to offer at shows; a teaser for more material down the road; or an exploratory release to test the waters for a response to a new band or an existing band's new direction (among others).
In any event, whatever a band's reason might be for offering up a small dose of their material for reduced consumption, the inviolable rule of the EP is simple — always leave the listener wanting more. If you elicit even a modicum of boredom or disinterest in a spare handful of tracks, you're not likely to entice listeners to take a chance on a full-length or get them out to a show, which is, as stated, sort of the point.
Luckily, no such lapse is even remotely evident on Real Far East, Saturn Batteries' second EP in just over a year. Since the Cincinnati bands formation in 2010, guitarist/vocalist/lyricist Brad Gibson — who's put in bass time with the likes of Charlie Hustle, Young Heirlooms and Walk the Moon — has presented his brainchild as a trio, quartet and quintet along the way, all in the service of Beatlesque Pop filtered through the New Wave aesthetic of the Police and XTC and adrenalized with a heart needle full of the Pixies' jittery satellite Rock.
On last year's Ever Been in Love? Gibson and the Batteries du jour hewed a little closer to the John Lennon/Frank Black strands of their DNA, but Real Far East finds the freshly minted foursome (Gibson, guitarist Brad Rutledge, drummer Justin Sheldon, bassist Archie Niebuhr) drifting more toward the Paul McCartney/Andy Partridge end of their gene pool. And while the Batteries soften the edges ever so subtly and polish their surface to a slightly more reflective shine on Real Far East, these refinements don't diminish the band's energetic charm in the least.
One of the reasons for that is the Batteries have never forsaken one direction for another, preferring to incorporate differing elements into their foundational sound in an effective display of their diversity. The soulful "It's Not About the Money" and propulsive "Overtime" are both Pop gems that swing and swagger in a groove that isn't far removed from the benchmarks established by Walk the Moon in their march toward global domination. "You Really Live Twice" features previous members Rob Barnes and Rich Shivener, naturally hearkening back to the moody energy of Ever Been in Love? "Every Last Time" updates '60s/'70s AM Pop to the 21st century, while "Cherry Times" is a solid hybrid of the sweet and dissonant Pop that has characterized everything that Saturn Batteries has done well to this point in their history.
Real Far East shows that Saturn Batteries can have fun within their core Pop/Rock sound and clearly points the way toward a bright future for the quartet going forward.
Saturn Batteries celebrates the release of Real Far East tonight (Friday) at The Drinkery in Over-the-Rhine (click here for details). Below is the EP track “Every Last Time”; click the player or here to sample/download the entire release.
The combined musical experience of the members of the Denim Road Band easily eclipses the century-and-a-half mark and encompasses every conceivable type of band and genre of music; local show/dance/cover outfits to nationally recognized entities playing Classic Rock, Blues, R&B, Jazz, Fusion, Top 40 Country, Funk and everything between and beyond.
DRB's sense of history and classicism invests their original material with the same soulful expanse and crisp Pop approach of the defining bands (The Doobie Brothers, Hall & Oates, Santana, Steely Dan) that have provided DRB with inspiration and a template for success.
There is certainly a formula to what the Denim Road Band does live and in the studio, but there's a huge difference between having a formula and being formulaic. On their third album, the silky smooth Blame It On the Stars, DRB hits the same markers as its previous discs (DRB's eponymous 2009 debut, 2010's Back to Mexico), utilizing George Harp's crystalline-yet-earthy vocal range, Craig Ballard's sinewy percussion and the almost impossibly adaptable journeymen rhythm section of bassist Robbie Lewis and drummer Kevin Ross to maximum groove effect.
Woven within that tightly knit fabric is the impeccable guitar work of Jim Zuzow, who channels everyone from Tom Johnston to Walter Becker to Steve Miller to the guitar legacies of the Eagles and Santana, creating a sound that is reminiscent of past Classic Rock glories
but delights in advancing the flag a little farther up the hill. Denim Road Band sets up shop at the corner of passion and professionalism and delivers the sophisticated goods with a showman's flair and a fan's devotion.
For more on Denim Road Band, click here.
Nick Dellaposta is a graphic designer, web developer, guitarist, vocalist and songwriter for Cincinnati/Dayton band To No End. If he did brain surgery on the side, he'd be Buckaroo Banzai.
And for a guy with little discernible local profile, Dellaposta has a metric ton of history that begins with learning guitar and writing songs at age 14. His father Bob fronted the Broken String Band and the pair gigged together when Dellaposta the younger was a college student, which led to eventual studio experiences.
Dellaposta formed To No End in 2012, leaning more toward an emphasis on the Dayton market; shortly after the band's first gig, Dellaposta took them into the studio to record their debut album, last year's Curio, a rootsy, Blues-drenched work that tapped into the Kenny Wayne Shepherd/Black Crowes/Gov't Mule end of the spectrum.
To No End's sophomore album, Peril & Paracosm, comes almost exactly a year after the band's debut, trumpeting a slight change in line-up and a new and darker sonic vision. Along with original drummer Patrick Lanham, new bassist Eli Booth and contributing guitarist/now full-fledged member Grant Evans, Dellaposta has invested TNE with an expansive and moody vibe that mines '70s Hard Rock like Budgie and UFO ("The Afterlife," "Bad Apple") while sharpening everything to a contemporary razor's edge.
Peril & Paracosm finds Dellaposta exploring darker lyrical themes which naturally results in a brooding and muscular soundtrack that is both an extension of and departure from Curio's brighter sonic perspective. There's also a slightly more psychedelic feel to some of the tracks on Peril & Paracosm, and when TNE drifts into a rootsier Gov't Mule direction this time out ("Good Intentions," "When the Time Comes"), there seems to be a greater conviction, a more desperate passion and a deeper understanding of both the influence and its translation.
We can only hope that the release of Peril & Paracosm signals To No End's expanded local presence because this kind of loud is always welcome.
Below is Peril & Paracosm track "Good Intentions." For more on To No End, click here.
It was quite a treat for area fans of (forgive the term) Alternative Rock as Arctic Monkeys rolled into Covington’s Madison Theater again this past Monday night. As one of the millennium’s most influential acts, the band from the English Midlands can normally be found playing arenas and large theaters, or headlining festivals throughout their homeland and the rest of Europe. Yet, they managed to schedule Covington on this tour, knowing they would easily be able put butts in the seats (even though there are few seats in the venue), which indeed they did.
The sold-out but well behaved crowd witnessed the band flawlessly execute a 20-song set, that was heavy on new tracks, but still filled with “hits.” They got right down to business opening with “Do I Wanna Know?” before powering into “Brianstorm” and “Don’t Sit Down ‘Cause I Moved Your Chair.” Lead singer Alex Turner’s banter with the audience focused mostly on the correct pronunciation of “Covington.” He eventually adopted a passable American accent and assured the crowd that a good time was going to be had. That statement was not inaccurate.
The band’s energy steadily increased, tempered only by Turner’s occasional breaks to comb back his hair — which the audience seemed to love. Their main set ended with the perfectly arranged trifecta of “I Wanna Be Yours,” “Fluorescent Adolescent,” and “505.” The encore was similarly paced, ending with fan-favorite “R U Mine?”
A pleasant surprise was opening act The Orwells. There’s been some heat on this Chicago-based quartet since the Arcs hand-picked them as their support act, and because of their very well-received appearance on The Late Show with David Letterman a few weeks back. Lead singer Mario Cuomo’s vacant yet engaging style captured the crowd’s attention, many dancing and bopping along to the band’s Post Punk stylings. Hope to see them back.