One of the finest original bands to call Cincinnati home over the past decade or so has expanded from a trio to a quartet. The Sundresses' dark, dirty, rootsy Rock sound has been delivered by the three core members over the past 11 years, with Jeremy Springer and Brad Schnittger switching off between drums and guitar during sets (both sing).
Beginning next Friday, July 19, Springer and Schnittger will provide a double frontmen/guitarist assault with bassist Makenzie Place now teamed in rhythm with new drummer Dave Reid (The Dukes are Dead, Filthy Beast).
Springer sent along a video clip of the "new" ’Dresses' second practice with Reid behind the kit.
CityBeat spoke with bassist Elijah Thomson about the group's unique vision and feel and also where he feels the band is going in their evolution. Everest will be playing the Bunbury Music Festival at Cincinnati's Sawyer Point/Yeatman's Cove on Friday alongside fun., Walk the Moon, Devotchka, Tegan and Sara and many others. Everest plays the Bud Light Stage at 5 p.m. Friday.
CityBeat: What have you guys been up to since I saw you last summer at Forecastle in Louisville?
Elijah Thomson: We took a little break. We were touring with Neil Young at the end of the year, which was really fun. We were a little beat down from a year of touring. We took probably about six months off. We did a little tour in April with Minus the Bear, so we sort of violated our own hiatus to go out with those guys, but that was better. We just did a couple weeks' run from L.A. to Chicago, so we went out there to do a couple dates.
CB: I know Neil Young personally picked you guys to go on tour with him and open his shows. What was the highlight of playing with him?
ET: It has been pretty sweet over the years getting to tour with Neil and obviously a total honor to be able to play with an artist of that caliber and a living legend, as far as I am concerned.
On a certain level, it is still a gig — you know, driving and loading in and out and all that kind of stuff. I think for me personally, watching a guy like Neil night in and night out, it sort of proves that sort of mystical thing in music, what is compelling about somebody that can sustain them for so long.
People are coming out in droves to see Neil and for me it is a personal study on art and what it is that enamors people with art. With Neil, I think it is primarily an honesty with his art. He will put it out there. The first song on his new record is like 27 minutes long. That’s the kind of bravery that comes from having nothing to prove and I think for them, like us, we have to understand why that is important and to find a formula that works, but also (be) true to ourselves and true to our own desires musically. That is a process. It has not been instantaneous, but I think we are sort of on the verge of realizing that ourselves.
CB: Did Neil give you any advice?
ET: I think if there ever was, it was just (to) absolutely do whatever you want and don’t make any apologies and don’t play it safe. It was the kind of real world wisdom that is important. It is not about playing some game. We should not be concerned where we will be classified in a musical genre. It is more about making what you feel and letting other people classify it.
CB: You guys toured pretty consistently the past few years. Do you have any crazy tour stories on the road?
ET: One of the main things we talked about from last year, we seemed to be pretty slippery when it came to crossing paths with law enforcement. We were slippery, we had no issues. I don’t know how we did it. We had a couple close calls, but were able to talk our way out of it every time.
CB: Are you working on any new music right now?
ET: Yeah, the biggest change in Everest is a slight personnel change. Jason Soda, a founding member of the band, decided to resign. I don’t know if I should say why, but ultimately he needed more normalcies in his life.
His replacement — I hate to put it that way — his name is Aaron Tasjan, an amazing guitar player who we met while we were on the road with Alberta Cross. He was kind of filling in for guitar and when it came up that J was going to resign, Joel and I were talking about it.
I think it was a sensitive thing — who were we going to collaborate with and how were we going to take this opportunity to improve the internal chemistry? We had a really great rapport with Aaron and when we were on the road he watched our set every night. He would open the shows doing solo stuff and we would jump on stage with him and jam with him. His spirit has been really amazing since he has been playing with us, bringing a freshness and newness that we have really desired and I think interpersonally it has been good and natural.
Also, the drummer chair has been in rotation the last year and a half or so since Davey, our original drummer, stopped playing with us. Our drummer now is a guy named Dan Bailey, a guy I have known for years. I really respected his drumming. He is an absolutely astounding drummer. It was very easy to ask him to join. Bass players and drummers generally want to choose who they are going to play with. He has known this band for a while, since I have been in it, and he has been chomping at the bit to jam with us, so we are on this new plane that we have never really experienced. It is really sort of a beautiful and fun creative discovery.
I am excited to bring this to Cincinnati. There is a great spirit going on. The plan right now is to finish out this summer touring, a couple weeks in July and a couple weeks in August on the West Coast. Then we are going to go back in the studio. The sound checks for our shows have gone into much more depth with the music; I don’t like the word "jamming," so we will say "spontaneous musical landscapes." It is something we have been wanting to do for a long time and it is really amazing to go on stage and just not have it all pre-programmed, even calling out set lists on the stage, stretching songs out, kind of taking our time with things, letting things be different night after night and really encourage our creative flow together. We are really excited about getting in the studio and experimenting with this.
CB: What is your favorite bass to play?
ET: I play a Gibson Les Paul Recording bass (from) 1973. I have been playing it exclusively for about 12 years. I do own several basses. The first bass I ever had was a Gibson Les Paul Recording bass. My Dad was a bass player and he gave it to me. It was kind of his junker bass and I didn’t even like it but it was something.
It sounds really stupid and mystical, because it was the bass I learned on and I kind of wore it out and it was an awkward bass, but I was always coming back to it because it was familiar.
I was playing with a guy named Richard Swift (producer, singer/songwriter and current member of The Shins), still do, a really dear friend. Right around when we first started playing together, he said, “That is the raddest bass I have ever heard. You should only use that bass when you are playing with me.” I was like, “OK no problem.” I basically decided that was my thing and I was going to stick with it.
I haven’t played any other bass for years and years except in a studio, and even then it is only one song, maybe.
CB: Did you always want to be a musician?
ET: Like I said, my dad was a musician and so I grew up on the road and around music. My uncle owned a studio, still does, and we still work out of there a lot. I have been recording bands since I was 17 years old and have been playing music since I was 12 years old, always had guitars around. When I was a little kid I thought I was the talentless one in the family because I didn’t pick it up before the age of 10. I eventually found my way. This was always what I was meant to do, in a way.
CB: Somebody the other day said that the best way to become a successful musician is to not have a backup plan.
ET: I’d say so, and I’d say most true artists would rather downgrade and live in a shack and still be doing what they are passionate about. It really plays into the artist mentality. I am no spring chicken, so I certainly decided I was in for life. I don’t have a retirement plan. I don’t ever want to stop. This is what I do. I get into other things outside of music so it is not a total obsession. I found a way to make it this far. I don’t know why that would change in the future. If it does, it does, and I will figure it out. This is what works for me; there is no backup plan.
CB: Where did the band name come from?
ET: The story … I wasn’t in the band when they named it and maybe I wouldn’t have picked that name, but that is for another conversation.
From what I gather, Russ and Jason had named their studio Everest Recordings because of a pack of cigarettes that Geoff Emerick had. He was an engineer on a lot of the Beatles stuff and supposedly Abbey Road was originally going to be named Everest and they were going to do a photo shoot in Nepal. It became a logistical nightmare and, as the legend goes, Paul or somebody said, "Let’s shoot a picture out front and be done with it." So the name Everest has significance to them, however it is sort of a common thing for something to be named.
It is hard to Google something like that. That is something you have to think about nowadays and maybe it gets lost in the shuffle a little bit.
CB: What can the fans look forward to at Bunbury seeing you guys for the first time?
ET: As a band we are really relaxed and comfortable. Every new show is an adventure. Every show we have had with this lineup has been over the top amazing.
I guess what fans can expect is the unexpected. They can expect to see some sort of fine but not some self-congratulatory musicianship, people making themselves vulnerable in front of people and making up stuff on the spot and really trying to live in that spirit of Jimi Hendrix and Zeppelin and the kind of feelings those shows had when it was a beautiful thing of stream of consciousness. I think that is something rarer these days in music. I am happy and proud to be in a band that values that part of live performance.
Everest performed at Lousiville's Forecastle fest last
summer. Check out the "A Day in the Life" Forecastle photo series with
the group here.
Impressive Cincinnati AltRock trio Public is all set to performing at Cincinnati's huge Bunbury Music Festival this weekend, essentially opening the fest Friday at 2 p.m. with a performance on the Bud Light Stage.
The band — nominated at the most recent Cincinnati Entertainment Awards for "Best New Artist" — released its four-track EP, Red, last summer and is now offering fans a brand-new recording, just in time to learn all the words and sing along at tomorrow's fest appearance.
The new track is "Honeybee," a spacious, groove-driven Indie Pop gem which is slated for Public's forthcoming second EP.
If you're download phobic, you can also grab
a physical copy of the single. Fifty are being pressed, featuring
hand-drawn artwork and a bonus acoustic B-side, "I Need You," and made
available at Bunbury.
Both songs will be available for download on July 16. The stream and eventual download will be available at publictheband.com.
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.
We are very much in the trenches right now! Keeping afloat amongst a sea of deadlines is a feat in and of itself. And while we typically do not doubt ourselves here at The Counter Rhythm Group, we are quite impressed to bear witness the amount of information being processed within the schedule we have upheld.
This past week I did something that I never thought I would do with Musicians’ Desk Reference — I printed it out! Well, part of it at least. I was simply amazed at the amount of pages and text that printed, so much that I had to refill the printer several times with new reams of paper and even with new ink cartridges.
Through several stages of copy editing and revisions we are finally starting to show how massive this project really is. I knew somewhat early on that it was going to be a wealth of information and documentation (as demonstrated by my inability to stick to the five-page limit set by my high school teachers), but this is far beyond what I imagined.
The interesting thing about all of this — beyond the content — is the fact that the entire workload is customizable to the user. If an artist wants to check every item on a list to recall all potential information, they could be in for several nights’ worth of preparation and work. However, the opposite is also true, as we have built MDR to allow both the beginner and the full-time touring musician to grab a single doc on the go with minimal effort. Maybe I have just been staring at the same set of screens for too long, but it still seems impressive after working on it for over two years!
The rest of the month will see us continually chopping away at content and revisions, plus document sign-offs and content uploads. We are also starting to work out some specifics for the national release and promotional campaigns, which is enough excitement to keep me going like a kid on the night before Christmas morning.
Every day that this project gets closer to release, the potential impact seems to grow exponentially and that is reward enough keep us awake and help pull us through all of these longs days and late nights.
I am going to make this my shortest blog entry yet, because there is still so much work to do. Unfortunately, I have had to remove myself from much of the live music world that I enjoy so very much over the past few months. While this trend will likely continue through most of the summer for me, I hope that you all are able to get out and support the local music scene.
We are very fortunate to live in this city with all of its talent and available venues. While you may not be able to contribute as much to the music industry and independent artists around here as you would like to, a simple start is to go see a show, buy a piece of merch and tell an artist “thank you” for doing what they do. The music industry is not an easy place to find success. We are trying to create a platform that informs and eases the process, but it cannot move forward without the support and contribution from the fans.
Thank you for reading – now go see some live music!
These artists will join previously announced MPMF.13 performers like The Breeders, The Head and The Heart, Warpaint, Shuggie Otis, Youth Lagoon, Cody ChesnuTT and many others. Visit MPMF.com and follow MPMF’s social media accounts for the latest artist additions and other MPMF news.
Tickets for 2013’s MidPoint Music
Festival are available now at mpmf.cincyticket.com, where you can
purchase three-day passes for only $69, the music fest bargain of the
EdenSong, the long-running summer concert series presented by the Queen City Balladeers, kicks off this Friday in Eden Park, but not in its usual outdoor spot at the Seasongood Pavilion.
For the 2013 series, EdenSong is moving just up the hill and indoors — inside the Cincinnati Art Museum, to be exact. The series — now dubbed ArtSong — runs every Friday through Aug. 2 and, as usual, features an excellent collection of primarily local Americana/Roots music performers.
The concerts will take place in the museum’s Fath Auditorium. Seating is more limited, so organizers advise arriving earlier than the 8 p.m. start time. Attendees are asked to enter the museum’s Dewitt entrance on the side of the building, in lieu of using the front doors.
The EdenSong concerts remain free (donations are, of course, welcome) and there is free parking on the museum grounds. This Friday's opening concert features the impressive lineup of Shiny & the Spoon, Ma Crow & the Lady Slippers, Lisa Biales, Anachrorhythms and Bob Kotz.
For the July 19 show, you can catch Ricky Nye, Wild Carrot & the Roots Band, Jim’s Red Pants, Steve Bonafel & One Iota and Ellie Fabe. The lineup for July 26 features Anna & Milovan, Red Cedars, Silver Arm, Greg Schaber and Calamity Rain. And for the Aug. 2 closer, you'll be able to see/hear The Rattlesnakin' Daddies, Bromwell-Diehl Band, the Hertz Brothers, Ann & Phil Case and John Ford.
For more info, visit queencityballadeers.org.
In the late ’70s, Punk Rock and New Wave were blossoming in New York City. But those genre tags were just a convenient labeling device, a catch-all that didn’t take into consideration all of the varied influences artists were bringing with them under that umbrella of Punk or New Wave. Bands would drag things like Rockabilly or Disco into their audio realm and craft their own new sound out of it, with barely any fans blinking an eye, let alone screaming, “That’s not Punk!”
Cincinnati trio Animal Circles bring that sort of kitchen-sink approach into their compositions, craftily blending together Surf Rock, Punk, Roots/Folk/Country sounds, Rockabilly and other styles into their own distinctive sonic smoothie. With the access people have to every type of music these days, it’s a wonder why every band doesn’t have Animal Circles’ sense of eclectic wonderment.
The band celebrates the release of its debut album, Eva Lee, Saturday at Northside Tavern. The free show also features Bloomington, Ind., rockers Thee Open Sex and local Black Sabbath tribute, Druid Piss.
Animal Circles’ variety and sense of dynamics make Eva Lee a thoroughly entertaining from start to finish. From the full-throttle burner “Brooks and Then Done,” with its speeding-out-of-control-train shuffle and rumbling Surf guitar licks (a consistent on the record) to the anxious, Jack-White-goes-to-the-beach vibe of “Squid Attack” to the vintage Country-flavored rocker “Southern Bell,” the band keeps your interest, not just with its unique ingredients, but also its strong sense of songwriting and melody.
The “Surfin’ Space Cowboy” approach has the potential to get old fast, so it’s to AC’s great credit that Eva Lee is such a consistently compelling listen. This is no novelty act.
Here is the Eva Lee track "Life on the Bonzai Pipeline."
The Eli Young Band brings a taste of Red Dirt music to the forefront of Country music. The band has an upbeat and distinct sound that has caught on quickly on a national scale. EYB saw mild success through the years touring on Jet Black and Jealous and hit a major stride with its most recent album, Life At Best, featuring the hits “Even If It Breaks Your Heart” and ACM "Song of the Year," “Crazy Girl.”
The Eli Young Band has now reached a new height, opening Kenny Chesney’s current tour (which is hitting mostly stadiums). CityBeat was able to catch up with band drummer Chris Thompson to get the band’s feeling on its new found success and life on tour with Kenny. The tour comes to Cincy tonight at Riverbend Music Center for a sold-out stop (the tour moves to Crew Stadium in Columbus on Saturday night). It is truly the most impressive tour in Country music.
CityBeat: How did the tour come about with Kenny Chesney?
Chris Thompson: A lot of people don’t know this but Kenny is really involved in who he picks to go on tour with him. In a lot of other tours, a record label will put someone on the bill or management will partner up with other management to find a tour that works with that kind of artist, but Kenny is super hands-on.
Two years ago at the Academy of Country Music Awards, we were nominated for "Song of the Year" and so was Kenny, and we actually beat him, we won the category. I guess shortly after, there was a text going around from Kenny to his management, “Who are these guys that beat me?” and “I want to find out more about them.” He started getting into our music and shortly after we got the phone call that we were invited to go out on tour with him.
It’s just a huge honor. Like I was saying, he hand picks the folks that are out here on the road with him. It’s the biggest tour in Country music and we are just happy to be here.
CB: I was there the night you guys won the "Song of the Year" award. I was so happy for you guys. I know you have worked very hard over the years. What was the highlight of CMA for the band this year in Nashville?
CT: We were only there for a couple hours really. We flew in that morning and did a signing for two or three hours and then had a couple meetings. Then, we were out of town.
We have been going to CMA Music Fest for seven or eight years now. Back in the day we would stay for three or four days and play a show or two and be able to hang and meet as many people as we could. It seems like more and more nowadays, especially with the tours we have been on and our headlining tours, we are only able to get in for a day and get out.
It is always fun to do the signings because you meet people from all over the country and from all over the world really who love Country music. They are so excited to meet you. They are die hard fans. They bring pictures from five years ago when we met. It’s just cool that Country music does that. We are the only genre of music that has anything like that where fans can go and interact directly with the artists and have one-on-one face time with them.
CB: Tell me a little bit about “Drunk Last Night,” the new single.
CT: I think “Drunk Last Night” is a lyric we can all relate to. When we all first heard the song, we were like, “Yes, this is a song for us."
A lot of people hear a title and automatically think it’s a drinking song. We went through some of that with “Crazy Girl.” A lot of people saw the title and went “Oh, I know what this song is about,” and I think they were wrong.
I think people will find this is not the standard drinking song. It is all about, I hate to sum it up as drunk dialing, but it is kind of like the thought of doing that and alcohol feeding that desire a little bit more than in daily life.
It is also a song that we went in the studio and recorded (and) as soon as we finished the session, we could go out and play (it) live right now because it’s a great track, it’s rocking, it’s in our wheelhouse and we actually did. We started playing it at the very beginning of the Chesney tour before it was even picked as a single. The crowd really seemed to dig it and now here it is, going to be a single. Good stuff.
CB: Do you guys know or do you have a feeling when you have a hit or when you hear a hit presented to you?
CT: Yeah. I think sometimes you hear a song, sometimes people say the song gives them chills and they know that’s the one. Sometimes you get that feeling in your gut. When you hear a song sometimes, you write a lyric and you feel that, it is almost like that feeling of falling in love. Your chest kind of swells.
When multiple people feel that way at the same spot or for the same song, then I don’t know if anybody can guarantee a hit, but you know that it is at least a lyric or a song that people can relate to and I think typically good songs are universal in that sort of way.
CB: I loved your “The Cuss Jar” video — I could buy a house if I implemented that process. I wanted to know if you had bought anything fun with the money?
CT: No, actually I think that era ended. The jar got too full and I think we used that jar for laundry money one day when we stopped somewhere on the road and had a few days off and emptied the whole thing for band and crew’s laundry. Then we got too lazy to keep up with it.
CB: What has been your craziest tour story recently?
CT: I think playing Cowboys Stadium in Dallas on the Chesney tour was probably the craziest thing because we are from Dallas and we have played every tiny bar around the stadium. To just get up on stage at the biggest stadium in America was totally wild. All of our families were there; it was craziness.
CB: That’s such a special moment, I am sure you have plenty of those all the time. Do you do anything special yourself to keep the tour memories? Do you take photos or journals? Some bands blog or journal and do things to keep it fresh.
CT: Yeah, we have been fortunate on this tour, since the beginning of this year, we have had a guy out on the road with us that has started doing social media. Mainly he is taking pictures. Since January, this whole thing has been documented and we really appreciate that.
It is definitely hard for us to get good photos when we are on stage playing, when we are really in the moment, because we are playing, so he is out there doing that. This is the biggest tour we have ever done and just the momentum that this year is building, we are just happy about that.
CB: What does a typical day look like for you?
CT: On the Chesney tour when we are doing stadiums like we are doing today, we will go out and do a tailgating event, at 1 or so in the afternoon, we will all get into some golf carts and we will go out to where all the fans are tailgating and they will bombard us with jello shots and beer bongs and the local foods they have.
We hang out with them for an hour or two then we will start doing radio events where we will play a couple songs acoustic, sitting on our bus or backstage for various winners. Then we will do a meet and greet for about 60-100 people. Then, we will grab a bite to eat around then. Then we hit the stage and rock out for about an hour.
After that, we will go hang out with some radio folks or some friend that are in town and wind down about the time Kenny hits the stage so we can watch him. It’s pretty cool. It’s pretty unreal.
CB: If you could trade places for anyone for about a month, who would it be?
CT: Right now it feels like we are living the dream. I think the four of us are really happy with what is going on in our careers right now. We have had some national success. It feels like we have broken out of being a regional band and it feels like we are on the cusp of something more than that. It’s a great time for Eli Young Band and it is important for us to enjoy this. I probably wouldn’t want to trade places with anyone right now.
CB: What can the fans look for from you guys tonight in Cincinnati?
CT: We try to always bring a high-energy show. We were playing a show last night and there was this older gentleman almost in front row sitting in his chair arms crossed and it looked like he wasn’t really enjoying himself. About halfway through our set he leaned over to his wife and he points at us and he goes, “Those guys are workin’ up there.” Then he smiled real big.
We want to bring that energy. We want to get on stage and have a good time and fire up the crowd. We go on right after Kacey Musgraves. Kacey is real cool and laidback and all that when she does her thing and it’s great. Then we get to come in and kick the audience in the butt a little bit.
During our set we have some new music in there and some cover songs I think gets the crowd up and clapping. After that Eric (Church) comes up and burns it down. Then Kenny Chesney comes out and the place goes nuts.