The release of the self-titled debut album from Cincinnati trio Tweens is just about a month away now. The music site Stereogum recently premiered the trio’s first music video for new album single, “Be Mean,” a great introduction to the band’s classic-Pop-meets-classic-Punk style (or “Trash Pop,” as they like to call it).
The buzz around Tweens, which scored the “New Artist of the Year” award at the 2014 Cincinnati Entertainment Awards, continues to grow across the nation, with more and more music press and online outlets heaping praise on the both the band's recordings and live shows. That buzz should be almost deafening when Tweens’ debut LP is finally released on April 8 through Frenchkiss Records. The band’s usually packed tour schedule is about to get extra-busy with the new release just on the horizon, beginning with a head-spinning six performances during next week’s South By Southwest music fest/conference in Texas.
Click here to read CityBeat's most recent interview with Tweens.
Cincinnati Noise Pop trio Vacation had the first sampling of its forthcoming sophomore LP debuted by Spin.com today. The messy but blissfully melodic track "Pyro Hippies" is set for the band's Candy Waves album, scheduled for release on June 18 through New Jersey-based label, Don Giovanni Records.
Vacation features singer/drummer Jerome Westerkamp (former singer/guitarist for The Read), guitarist/singer Peyton Copes and bassist/singer Evan Wolff (both formerly of Till Plains).
The road-tested trio will play a couple of shows in July and then do three weeks on the road starting in early September.
"Vacation" is starting to sound downright ironic given the busy bees Westerkamp and Copes have been lately. Besides Vacation, the pair is also 2/3 of the much-buzzed about trio Tweens, self-described as a "Nasty Doo Woppy band." The group — which mines a vein similar to Vacation, but with a female vocalist — has been garnering big attention from both music fans and the industry. Tweens recently opened for The Breeders when the "Alt" legends played a tour warm-up show at Southgate House Revival in Newport in advance of their global jaunt celebrating the 20th anniversary of the seminal Last Splash record. It must've gone well — Tweens were chosen to open for The Breeders in Washington D.C., Philly and New York City in early May.
Look for a profile of Tweens in the May 1 edition of CityBeat. In the meantime, check out "Rattle&Rollin," which the esteemed U.K. label Fat Cat showcased on its website a couple of weeks ago.
Former experimental Jazz artist Matt Baumann has totally shifted gears and is now performing as banjo-playing Americana artist WolfCryer. Tonight at MOTR Pub in Over-the-Rhine, Baumann (as WolfCryer) celebrates the release of his debut, self-titled EP by performing the recording live in its entirety starting at 10 p.m. From the sounds of the EP, WolfCryer is going to be a very welcome addition to Greater Cincinnati's eclectic, thriving Roots/Americana scene.
Baumann’s music partner Eric Barnett (a.k.a. whiskeyheart) then takes over the stage after the live EP presentation, followed by popular local Indie Folk group Evans Collective. Wolfcryer comes back to close out the night at around 12:30 a.m. To listen to and then purchase the EP online, visit nobleoakrecords.bandcamp.com. Here's a little sample to whet your appetite.
Click here to read an interview with Baumann from CityBeat's Brian Baker in 2008, when he was crafting adventurous music with a saxophone.
After launching last year locally at the MidPoint Music Festival and nationally at New York’s CMJ conference, the intuitive and comprehensive music industry e-book Musicians’ Desk Reference has relaunched with a new format. Created in Cincinnati by longtime local musician and promoter Brian Penick (also the founder of The Counter Rhythm Group, which has helped numerous local acts garner national attention and work), MDR is moving from its original, one-time-purchase approach to a monthly (or annual) subscription plan.
For those who may have been cautious about its upfront cost, Musicians’ Desk Reference, which is customizable to the user’s needs (no matter where they are in their career) and features information, templates and advice relating to everything from touring, promoting and recording to radio and press campaigns and well beyond, is now available to test-drive for free. The no-cost 30-day trial doesn’t even require a credit card; click here to get started.
Artists serious about pursuing a career in music will likely become more interested in MDR as they dive in and look at all it has to offer. After the 30-day trial, MDR can be accessed for $10 a month or $100 for the year.
Visit musiciansdeskreference.com for complete info.
If you are a betting man or woman and the bet is “What Cincinnati band will be next to break out into the national spotlight?” putting your money on Indie Pop/Rock trio PUBLIC would be one of the safer wagers you could make. The three gifted young musicians craft some incredibly catchy music that would be right at home on any AltRock radio station’s playlist, as evidenced especially on a brand new track the group just unveiled, the danceable, hook-laden “Make You Mine.”
The new track is a part of series of new songs planned for a forthcoming release that will be rolled out over the next few weeks. The band (which released its debut EP Red in 2012 and has since performed at big-time tests like South By Southwest and CMJ) will stream a new track every week though its Bandcamp page leading up to its first local show in a while, on May 2 at Rohs Street Cafe’s Sanctuary in Clifton Heights.
PUBLIC will be joined by The Yugos and Harbour for the all-ages show, which is the trio’s first official headlining gig ever (so if you attend and they blow up, as industry buzz suggests they just might, you can tell your grandkids you were there). Tickets are available now here.
For more info on PUBLIC, visit the group’s Facebook page here. And check out CityBeat's interview with PUBLIC from 2013 (when the group was nominated for New Artist of the Year at the Cincinnati Entertainment Awards) here.
In early September, Cincinnati major-label act Walk the Moon had its new single, “Shut Up and Dance,” released by RCA Records. The song — which the band performed on Late Night with Seth Myers on Sept. 15 — is slated for inclusion on the band’s next full-length for RCA, the group’s second for the label. The new album is due for release later this year.
Today, the “Shut Up and Dance” video was made public. In the press materials for the new clip, frontman Nicholas Petricca says, “Influenced by the plot-driven music videos of the 80s and nerdy visuals of 90s television, our new video for Shut Up and Dance is a trippy story of dork victory. We are the proud mothers and co-directors of this weird throwbacky fantasy, alongside the brilliantly funny Josh Forbes.” There’s also an awesomely awkward dance break from Petricca in the clip.
Walk the Moon is currently doing a national tour (with fellow Cincinntians Public opening several dates) that has largely sold out; an announcement of a more extensive spring tour in support of the new album is due in the coming weeks.
Check out Mashable’s piece on the new video, in which Petricca picks his favorite ’80s music videos here.
Local Pop Rock crew Mixtapes' first track from their forthcoming full-length Ordinary Silence premiered today on The A.V. Club, The Onion's non-parody (yet still often funny) arts and entertainment website.
The little hyper-catchy slice of melodic heaven "Elevator Days" will be featured on Mixtapes new album, Ordinary Silence, which is scheduled for release on June 25 through California-based independent label, No Sleep Records. If radio had a brain, this tune would be a radio smash. But, well, you know …
Singer/guitarist/songwriter Ryan Rockwell says "Elevator Days" is "a song about being so stuck that short of running away or crying you feel hopeless,” says Rockwell. “It's a song about realizing that every day I judge everyone around me and never realizing I'm the one that needs to change. 90 percent of our problems with other people i think are actually ourselves, it can be an awful realization, and also a necessary one.”
Click here to listen to the track or check out the YouTube version below. If you pre-order the new album, you'll receive an automatic download of "Elevator Days."
The 14-track album was recorded with Eric Tuffendsam at Moonlight Studios in Fairfield, just like Mixtapes' debut release, Even on the Worst Nights, which came out just last year. The band is gearing up for a massive cross-country tour starting in May, which will culminate with a couple of weeks on the Vans Warped Tour. Mixtapes is slated to appear at the Warped Tour stop at Riverbend in Cincinnati on July 30.
Click here to read our interview with Rockwell from last summer.
Fountain Square's popular Thursday evening "Salsa on the Square" concerts/dances — featuring top Salsa/Latin Jazz groups from across the area (and sometimes beyond), numerous dancers and even free Salsa lessons (right at the scheduled 7 p.m. start time) — are coming to an end for the summer, with two more dates left. Like all concerts on the Square, the event is free and tonight and next Thursday you can also score a free Salsa compilation EP.
"Volume 4" of the Salsa on the Square CD compilation series features five tracks by performers from this year's concerts on the Square, including locals Cla've Son, Azucar Tumbao, Son del Caribe and veteran local favorites Tropicoso, plus a cut from tonight's Salsa on the Square headliners, Bay Area ensemble Brian Andres and the Afro-Cuban Jazz Cartel.
Only 500 Salsa on the Square comps are available; half will be given out tonight and the rest next Thursday, when Tropicoso closes out the series.
Brian Andres and the Afro-Cuban Jazz Cartel will be making the most of their Cincinnati visit (though based in San Francisco since 1999, drummer/group leader Andres grew up in Cincinnati, where he first found his drumming groove). The group also performs downtown at the Blue Wisp Jazz Club, Friday and Saturday at 8:30 p.m. Admission is $10. Read more about Andres and Co. from this preview from when they were in town last year.
Here's a clip of Brian Andres and the Afro-Cuban Jazz Cartel performing "Estampa Cubana" in 2009.
Cincinnati Pop Rock quartet Mixtapes formed about four years ago and immediately hit the road with a relentless dedication. The band’s hard work paid off and it has experienced great success, building a dedicated fan base across the country with great live shows and hook-drenched, nationally-released albums and singles.
As anyone who has seen Mixtapes live knows, the band’s shows are adrenalized, sweaty fun and their music, while growing more mature and diverse with each release, is sheer fist-pumping, singalong joyfulness.
Frontman Ryan Rockwell was living the dream. But somewhere along the way, his life became more like a nightmare. The fact that Mixtapes’ launch coincided with the death of his father certainly played a part in Rockwell’s difficulties. Though details are vague, according to a press release, Rockwell “started to watch himself deteriorate and become the type of person he hated the most. He tried things he never thought he would and got dangerously close to not making it out.”
"I had never felt more alone," Rockwell says in the release. "Friends that I have had for years literally just stopped talking to me, stopped responding, a large number of them. I turned to the only thing I knew, and I started writing about it. I don't know who was wrong or who was right, but I know how much it hurt and people that I have helped and would do anything for left me when I needed help the most. Other people stepped up and saved me. I don't place blame though … I became a different person for awhile.
Rockwell was trying to understand what was going on in himself to make him so unhappy, but found it difficult to express. So he did what he does best and channeled his emotions into writing and recording songs. Working with friends Kamal Hiresh and Zach George and using the name Youth Culture, Rockwell hit the basement and created what would become the 10-track album, I Hate How Normal I’ve Become, an accomplished and eclectic collection of songs that, while still instantly catchy, possess much more darkness than Mixtapes’ jubilant Punk Pop.
Rockwell released the Youth Culture album late last month as a “pay-what-you-want” (yes, even if you want to pay nothing) download.
“This is an album for people going through things they don't like to talk about or know how to express,” Rockwell says. “We did it all ourselves and paid for it all ourselves. First and foremost, we want you to hear it — which is why it's free. If you like it enough, we'd very much appreciate a donation to recoup costs and eventually put it out on vinyl. But as always with everything I've done, I just want it to get out there, so thank you so much for taking the time to listen; there's a lot of bands out there, thanks for giving this a spin."
Listen to I Hate How Normal I’ve Become below, then click the player to grab your very own copy.
Fans worried that Youth Culture might signal the end of Mixtapes, fear not. The band is currently crisscrossing the United States on the massive Vans Warped Tour, which it'll be a part of until August. (The band is slated to appear at the Warped Tour’s Cincinnati stop on July 16 at Riverbend Music Center.)
If you are even a marginal fan of Black Owls (whose members split time between Cincinnati and Granville, Ohio) and have not yet visited their Bandcamp page to purchase a copy of their recent recorded triumph, Wild Children (which came out late last year), off with you. I'll wait.
The Owls' fourth album is nothing less than the maturation of a supremely talented band that has been patiently waiting for the right pieces to fall into the right places almost from the beginning. The installation of drummer extraordinaire Brian Kitzmiller and the relocation of vocalist David Butler away from the drummer's chair and to the front of the stage was the first necessary shift, while adding second guitarist Brandon Losacker as a frenetic foil to Ed Shuttleworth's tightly coiled brilliance was inspired and equally required.
The bass position has been problematic only in its temporary nature; Nancy/National bassist Mike Brewer left to pursue his own thing, the thunderously wonderful Alan Beavers was forced from his role due to back issues and Goose four stringer Sammy Wulfeck was almost psychotically overextended and had to bow out; his work is all over Wild Children, a
tantalizing hint at what he brought to the Owls and further proof of his longstanding chemistry with Kitzmiller. (For the record, both Beavers and Brewer guest on Wild Children and remain welcome alumni in the Owls' extended family.)
On the whole, Wild Children is an expansion of the Owls' sonic mission statement of cross-pollinating early '70s-era Glam (see Bowie/Mott/Marc Bolan) with late '70s-era New York Punk (via Tom Verlaine's Television, Richard Hell's Voidoids and Lou Reed's simple fury). A good many of the songs on Wild Children have been worked out in live sets over the past year or so and will be familiar to anyone who has haunted the band's numerous local appearances; the effervescently charged "Incandescent Vultures," the melodically moody "She Invented Air," the propulsive and sinewy title track, produced into a beefy studio anthem. There's even a re-recording of "Julias Morningstar," one of the Owls' most recognizable and popular tracks from their 2008 debut, Lightning Made Us Who We Are. Wild Children shows that the Owls are gelling nicely and becoming even more comfortable and confident in the brilliant niche they've created for themselves.
And while Wild Children is patently excellent and an absolute necessity, perhaps even more exciting is the two-track glimpse into the Owls' future just revealed by Kitzmiller. A result of recent sessions featuring former Doc & the Pods/Roundhead four-stringer Kip Roe, an absolute prince of a human being and the perfect piece to complete the Owls' puzzle, the two songs find the quintet sounding less like the brilliant sum of their influences and more like a blazingly original band that has effectively incorporated their heroes into their creative vision without showing a seam
or dropping a stitch. "Gasoline" is a hard-charging, manic and relentless three minute thrill ride (and a prime candidate for the first single from the album that it will eventually crown), while "Rook" muscles along with the shivering, shimmering energy that has defined the Owls' best work over the past six years. These two as-yet-unmastered tracks show Black Owls evolving into a focused unit of astonishing power and unlimited potential.
More. Soon. Please.