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by Brian Baker 09.29.2012
 
 
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MPMF.12 Day 2: The Storms are All Inside This Year

Another beautiful evening for MidPoint 2012 despite a dreary day as an opening act. Thursday night’s festivities were fantastic, but they turned out to be a mere warm-up for the grand mal WTF of Friday night. As it should be.

First up on the agenda was a walk down to Grammer’s to once again bathe in the resplendent Blues chemical peel that is the Sundresses. My adoration of the band has now lasted longer than my relationship with my first wife, and it’s been worthwhile for a hell of lot longer.

How do I love thee, Sundresses? Impossible to count the ways. The Sundresses are a 45-minute ride on an indoor roller coaster that cranks out a soundtrack of blistering Hard Rock murder ballads, spooky Garage Jazz Punk lust songs, gritty Indie Blues stompathons and otherworldly combinations of all of the above. The ’dresses began with Jeremy Springer’s howling mad interpretation of the Billie Holiday classic “Strange Fruit,” and the adrenalized trio didn’t let up for the duration of their set. It was classic Sundresses for MidPoint; for the intro to “My Name is Rock and Roll,” Jeremy noted that it’s “a song about why you shouldn’t date a musician,” then noticed a friend up front, motioned him over, took a huge swig of beer and spit it onto the exultant fan.

“It wouldn’t be a Sundresses show,” Jeremy deadpanned, then exclaimed, “Hey Jessie, thanks for the Ritalin.”

Brad Schnittger was killing it as always on the unhinged Swing Punk of “An American American” and the Garage Blues
heartpunch of “Zappado,” which they premiered at last year’s MidPoint, and bass dervish Makenzie Place spun to our heart’s content while creating a throb powerful enough to punch a hole in a bank vault. Please have a new album soon, please.

After the filthy splendor of the Sundresses, I headed over to the Midway for another in a series of fabulous hot dogs from the equally fabulous Mr. Hanton’s, who also informed me that he’s getting ready to open a location on Calhoun across from the UC dorms, which I think he may be doing in a double decker bus, which will be amazing. Look for it next spring.

En route to the Midway, I overheard talk on the street that the Hanke Building shows had all been moved to the Midway because the fire marshall had closed the place after Thursday night’s smoke alarm incident. Once at the Midway, I made a beeline for Mr. Hanton’s; one bite into my heavenly handwich and it occurred to me that I should be having a beer with this fine repast. Just as this spark of a thought jumped across the synapses that handle the alchol traffic (which seems like four of the six lanes in my brain’s highway), a beer suddenly appears in front of me as though I had willed into reality.

It turned out to be CityBeat publisher/avenging angel Dan Bockrath, making good on his chiseled-in-stone promise to buy me a beer at every MidPoint or making a shameless bid to work his way into my annual narrative. Either way, I now had a beer and a dog. Dan confirmed that the Hanke shows were now all Midway shows, but the schedules had all been moved up to accommodate the outdoor noise ordinance. That unfortunate news pretty well blew up my schedule for the night; I had planned to run down to the Hanke after the Black Owls show to see the Kansas Bible Company, which Dan informed me was happening at this very moment. I bolted for the Midway stage with dog and brew to witness what little I could of the Indie Soul rapture of KBC.

What do you get when you add a six Indie Rock guys with a grounding in Soul and a five piece horn section? Magic, that’s what. I could only stay for three songs but KBC more than lived up to the hype that I had written into their preview blurb; they were epic like early Genesis, brassy like early Chicago and earth- and ass-shaking like Oingo Boingo, with a Soul vibe as deep as the Marianas Trench and as rich as fine Corinthian leather.

I would have loved to hang around for more of Kansas Bible Company, but I really wanted to see Culture Queer at the Cincinnati Club, seeing as how I’ll be interviewing them next week for an upcoming feature to advance the album release show for their excellent new disc, Nightmare Band. Assorted detours got me to the show about mid-set, and CQ was well into a scorching Electro-Pop dance groove at that point. It wasn’t the full-bore dancing girls-and-a-transvestite slut bride chorus line from last year’s roof-raising blow up at Artworks, but it was an astonishingly talented four piece (and their man-behind-the-curtain wizard controlling the screen projections behind the amps) cranking out a sonic blurt that suggested the B-52s with the campy novelty excised in favor of incendiary Indie Rock and New Order without the subtext of severe depression.

CQ's Scott Fredette entertained up front (“So what do you want to do? I’ve got a doobie in my glove compartment...”), Sam Womelsdorf peeled off guitar runs that walked the line between Indie Rock power and Dance Rock slink, Jeremy Lesniak split his time between guitar and keyboard in the same pursuit, and Dana Hamblen pounded out the beat with the sadistic joy of an interrogator working over a Guantanamo detainee for information while harmonizing or singing lead. It was stripped down but it was standard Culture Queer weird brilliance or brilliant weirdness or both.

After CQ‘s set I headed over to the Main Event to settle in for Mad Anthony and Black Owls. My original plan was to check out KBC at the Hanke, back to the Main Event for MA and the Owls, then back to the Hanke to check out the electrifying Soul revue of JC Brooks and the Uptown Sound. But with the switch to the Midway and the noise ordinance, JCBUS would be wrapping up at Mad Anthony’s start time and so I made the executive decision to hang at the Main Event.

It turned out to be a wise choice on a couple of fronts; Kentucky Knife Fight blew the doors off the joint with a hillbilly Garage Rock vibe that was absolutely jaw-dropping, and Homer Bailey was pitching the last inning of his no-hitter against the Pirates. When I got to the Main Event, Ringo MF Jones was at the bar watching the game. I strolled over and got my man-hug from Ringo, who informed me of the drama at hand. The Reds didn’t get anything going in the top of the ninth, so it was down to Bailey in the bottom half, striking out one and getting a couple of pop outs. The last pop fly happened just as KKF was finishing a song, and everyone at the bar went bugnuts with the close out of the no hitter.

I felt bad for the band, hoping they weren’t getting big pants over an ovation that was pointed in the opposite direction. The fact is they were killing it last night and they deserved more attention than they were getting, but they seemed to have a pretty good crowd in front of them, so it wasn’t a bad night for them.

With the win, Ringo, Adam Flaig and Marc Sherlock tore themselves away from the post-game wrap-up to mount the stage, strap up and turn their amps up to “jet engine.” Is there a better and more ferocious Rock band than Mad Anthony in Cincinnati right now? I don’t bloody think so. The trio tore through their set with giddy abandon, as Ringo belted out lyrics of love and alienation (and love of alienation) with the energy of a spider monkey and the lung capacity of a lowland gorilla while abusing his six-string in a manner that could trigger an intervention from Guitar Protective Services, while Adam performed similar atrocities on his side of the stage and Marc banged out a double time Punk pulse that sounded like the beatkeeper on a Viking ship imploring his oarsmen to get their vessel up to water skiing speed. Sounding like a cross between Nirvana and Black Sabbath with 100,000 volts being pumped into Kurt Cobain and/or Tommy Iommi’s asscrack(s), “We Fucking Love This City” washed over the faithful like a tidal wave of sound and adoration and Mad Anthony proved once again that passion, unhinged energy and volume are the ingredients to the most powerful musical cocktail known to man; Punk with a twist of Hard Rock, shaken, stirred, slammed and reordered. Maybe we should call it a Madhatten.

Next up on the bill was one of my most anticipated shows of MidPoint. I had been totally jacked to see Black Owls at this past summer’s Bunbury Festival after witnessing both of their MidPoint appearances in previous years, but the Sunday thunderstorm, complete with potentially deadly lightning, denied the Owls their chance to take the Alive One stage. So, like most of the patrons of the festival, they drank themselves into a stupor. Unlike most patrons, they were considering how they would storm back into Cincinnati and take revenge on Mother Nature for her pissing fit. Last night’s MidPoint show was the exquisite answer, as the Owls tore into their hour-plus set with the alcohol fueled bravado of Guided By Voices, the razor sharp choogle of T. Rex, the mutated Folk Metal of Mott the Hoople and the blazing Punk edge of everything good about the New York scene in the mid-’70s.

Black Owls translate their influences into a tumult from the grimy floor of their glitter garage, a Glam-slam-thank-you-maam assjacking that is as familiar as it is fresh. Their new eponymous double album (available digitally at Bandcamp) is a marvel, and the Owls turned out hypercaffeinated versions of the new songs, including the visceral ballkick of “She Was There,” the Stonesy rumble of “Skynyrd” and the Bob Dylan-meets-Tom Verlaine Bowie tribute of “Octopus Flat,” as well as older classics like “Glorious in Black,” sounding like Marc Bolan fronting Steppenwolf and the cloudbursting joy of “Julius Morningstar.” Ed Shuttleworth and Brandon Losacker craft a solid wall of guitar squall (without a single solo, mind you, or one so subtle you’d never identify it as such), Alan Beavers attacks his bass with lead guitar precision and power and Brian Kitzmiller is still the most amazingly solid drummer on the scene and the absolute perfect foil for the Owls’ brand of contempo/retro Glam Punk. And at the front of it is David Butler, a lanky bundle of coiled energy with a voice that channels David Byrne’s tremulous warble and Ian Hunter’s power howl.

For all these reasons and a few more, Black Owls have built a pretty sizable fan base here and they’re close enough (north of Columbus) to make regular visits to Cincinnati. If you have the slightest affinity for any of the artist noted here, a single exposure to Black Owls will have you on your knees and singing the praises of Granville’s favorite sons; if they were any better, they’d be banned as a controlled substance. Black Owls are your new favorite
band … do something about it.

I almost hit the sidewalk to check out PUJOL at Below Zero, but chose to give my feet a break and stick at the Main Event to catch Sisters of Your Sunshine Vapor out of Detroit. They had kind of a Doors sensibility, with a Gothic Pink Floyd undercurrent, and it was interesting and compelling in its volume and expanse, but it was a rather sonorous follow-up to Mad Anthony and Black Owls, so I used the Sisters as the backdrop for drinking, gig chat and celebrating the Reds’ no hitter.

MidPoint 2012 Friday Night Notes:

• I ran into several old pals at the Sundresses’ soiree, including the incomparable Kip Roe, who showed up with Purrs bassist/singer Jim Antonio and the always affable Paul Roberts, who showed up with his wrecking crew and put a
lovely Rivertown Ale into my inexplicably empty hand. Also in attendance was former design co-worker Lon Stewart, who I typically see at MidPoint because I don’t run in design circles anymore, literally or figuratively. We caught up, reminisced a bit about the old days at Optimum Group, and just generally shot the shit along with his lovely companion Paula (serious emphasis on the lovely; hey, I’m married, not dead). I also just caught a glimpse of someone who looked suspiciously like Greg Gaston, but he was finishing a beer and motoring for the gate and I couldn’t have run him down from my position.

• Day two, still no Matthew Fenton sightings. I have to think that maybe he bailed on this year for whatever reasons. I typically catch up with him and Kelly on the first night, but barring that, always by Friday. Maybe third night's the charm this year.

• Stopped by the Segway store and talked to Black Owls' Brian Kitzmiller, who was working a promotion there. The rest of the Owls were there as well, and Brian re-introduced me to Sean, owner of the Segway franchise here and a super nice guy. While we chatted, the Ready Stance’s Wes Pence and Chase Johnston and a couple of buddies rode up on bikes on their way to Washington Park. I slammed about half of one of Brian’s giant Hudepohls before taking to the sidewalk again.

• If you want to take a truly extravagant piss, don’t miss the restrooms at the Cincinnati Club. Holy crap on a communion cracker, after the standard bar toilet atmosphere, this set-up looked like the lobby of the Netherland Plaza outfitted with urinals and stalls. In fairness, every place has been clean and not disgusting in the least, but certainly none have exhibited quite this much class. I don’t have anything on my Saturday schedule at the Club, but I may rethink that after last night’s luxury.

• The evening at the Main Event was a solid parade of old friends and new acquaintances. Naturally, it was old home week to catch up with Mad Anthony and the Owls, and their respective entourages, including Ringo‘s ultracool girlfriend Carrie, Brian’s lovely wife Sarah (Post-It free for the third year in a row), Generals bassist Sammy Wulfeck and his glowingly expectant girlfriend Jenny, and Brandon Losacker’s stepbrother Andrew, an incredibly nice guy who even helped Brandon at load out; that’s real brother shit right there. Chuck Madden showed up to take some shots of the Owls; brilliant sound man that he is, he pointed out that my vantage point was the worst sound in the room, so we moved to the other side, where it was excellent. Also chatted for a bit with Brian Pennick, now doing business as the Counter Rhythm Group, but our first meeting was four years ago when he was drumming for the Turnbull AC’s and we met at his house for the interview. Beer flowed constantly, as offered most generously by Ringo Jones, Ed Shuttleworth and Brandon Losacker, who also threw in a shot of Jameson. The beer gods welcome you into the Pantheon of Hoppiness.
 
 
by Mike Breen 04.29.2013
 
 
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MidPoint Music Festival ’13: Announcement Coming Soon

Initial lineup announcement for MPMF.13 due Friday via Dewey's Pizza

Get ready, MidPoint Music Festival fans. This Friday, the first 10 or so artists booked for 2013's MPMF — returning to the streets and venues of Over-the-Rhine and Downtown Sept. 26-28 — will be announced. And longtime MPMF sponsor Dewey's Pizza will  have the scoop.

Friday, those wanting the info first should head to facebook.com/DeweysPizza ("like" their page, not just for the yummy grub they serve but for the support they've given MPMF and local music over the years). Then, of course, check this here music blog for a recap and more details.

Also of interest to MPMF fanatics are the lineups for this year's "Indie Summer" concerts, every Friday on Fountain Square from May 31-Aug. 30. The performers for the MidPoint- and CityBeat-sponsored shows are expected within the week. Keep an eye on this blog for the full announcement as soon as we get the green light to post it. (The lineups for the other themed Fountain Square music nights — six per week — are due very soon as well.)

For artists wanting to be considered for a performance slot at MPMF.13, the time to submit is now, as the deadline is quickly approaching. Submissions will be accepted (visit mpmf.com for directions) until May 11 at 11:59 p.m.

Several weeks ago, two pricing tiers of "early bird" and "loyalty" MPMF tickets sold out almost immediately. Tickets for MPMF.13 go back on sale this Friday through cincyticket.com ($69 for a three-day pass or $169 for "VIP Experience" tickets).

 
 
by mbreen 02.25.2011
Posted In: MidPoint Music Festival, Music News at 09:45 AM | Permalink | Comments (0)
 
 
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MidPoint 2011: Open for Submissions

Though it feels like we're just getting over the glorious musical hangover caused by the 2010 edition of the MidPoint Music Festival, today marks the beginning of MPMF's 2011 cycle. Starting today, artists interested in performing at this year's MidPoint can begin submitting press kits.

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by Brian Baker 09.26.2011
 
 
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MPMF.11 Day 3: Live from MidPoint, it's Saturday Night!

I love the last night of MidPoint. And I hate the last night of MidPoint. I love it because it’s typically the most attended of the festival’s three nights, the energy is beyond amped, the venues are packed, the very air seems charged, like Duke abandoned electric cables and is beaming power through the aether straight into your skull.

I hate it because this is the end, my only friend the end, and even as the evening begins with a promise of greatness, it comes with a melancholic touch and before the light has started to diffuse, I’m already missing this year’s festivities and anticipating next year’s first night.

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by Mike Breen 08.31.2012
 
 
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Music Tonight: Wussy, R. Ring, Rob Base and More

Your long weekend begins with quality live music options in Downtown/Over-the-Rhine

• Downtown at Arnold's tonight (Friday), catch influential cult hero Paleface, a man who has been on the cutting edge of contemporary music's continual fascination with traditional Folk music and an influence on some of the more adventurous musicians who seek to translate that vintage spirit into their own voice. Over the past 20-plus years, the singer/songwriter has been an Anti Folk torchbearer and an Indie Folk mentor, first learning songwriting and lo-fi recordings from underground legend Daniel Johnston in the late ’80s. From there he went on to teach a few tricks to roommate Beck (pre-fame), help the so-called "Freak Folk" scene grow freakier and folkier and collaborate frequently with pals The Avett Brothers. Whether directly or indirectly, if you dig today's "Indie Folk" — or any brand of slanted or subversive Americana — you've likely heard the results of Paleface's unique influence. Click here to read more.

Paleface's show tonight at Arnold's is free and — icing on the cake — great local Folk Pop group Shiny and the Spoon opens the show at 9 p.m. The gig will also be the first one for which Arnold's has commissioned a special concert poster. Crafted by talented local artist Keith Neltner (who has done commissioned poster art for Alice in Chains, Modest Mouse, Hank Williams III, The Avett Brothers, Cake, Black Rebel Motorcycle Club and many others), the prints (pictured above) are available for $25 while they last (only 50 were pressed).

Here's Paleface's video for his ode to NYC, fittingly titled "New York, New York."


UPDATE: Arnold's just announced this afternoon that Paleface has cancelled due to illness. A rescheduled date is in the works. Shiny and the Spoon is still performing.

• After the best summer series yet, the final MidPoint Indie Summer concert on Fountain Square goes down tonight at 7 p.m. And the every-Friday series is going out with a bang, featuring a flawless triple bill of local acts. Things get started with superb modern Soul translators The Guitars, who will be followed by the duo R. Ring, featuring Dayton, Ky.'s Mike Montgomery (longtime local engineer ad musician, currently with Ampline) and Dayton, Ohio's Kelley Deal (The Breeders). R. Ring spoke with CityBeat's Brian Baker about the project in this week's paper. Read it online here.

Headlining tonight's Fountain Square concert is Wussy, the now-veteran four-piece that is gearing up for some huge happenings on the horizon, including tour dates with The Afghan Whigs and Heartless Bastards and a trip to the U.K. by co-frontpeople/singer/guitarists Lisa Walker and Chuck Cleaver (playing as a duo) for several shows in support of the band's first U.K. release, Buckeye, a retrospective that came out to glowing reviews this summer. Read more about Wussy's many goings on here.

Here's the skate video by Kristian Svitak that R. Ring helped re-soundtrack. After DEVO's record label removed the video because it used the group's song "Mr. DNA," Svitak got together to record a new version with Deal and Montgomery. The song in the re-edited video was so popular, R. Ring released it as a limited edition single and local label Phratry Records released it digitally. (Click here to get your own copy.)


 
• Popular local Gypsy Jazz favorites and Django Reinhardt devotees The Faux Frenchmen celebrate the group's 10th anniversary tonight with a show at downtown's Blue Wisp Jazz Club. A decade ago this fall, the band (which features esteemed local musicians George Cunningham, Brian Lovely, Paul Patterson and Don Aren) made its debut, starting an every-Monday residency at former Clifton restaurant Tink's. Over the years, the band has only gotten more popular, drawing attention from outside of Cincinnati and performing numerous road dates (this fall they return for their sixth appearance at the annual Jazz at Chautauqua Festival in New York).  

The band's anniversary show begins at 8:30 p.m. and admission is $10. Here's a clip from the Frenchmen performing on another anniversary — Reinhardt's birthday (
taken from one of their annual appearances on WNKU in honor of Django).



• The performers for the weekly "Friday Flow" concerts at Washington Park are always a bit of a surprise because the lineups have been announced within only a week or two of the performances. It's also a surprise because the featured act is usually something pleasantly unexpected. Dayton Funk greats Lakeside ("Fantastic Voyage") popped up one week and Neo Soul star Dwele launched the series this summer.

Tonight's free Friday Flow concert is another cool, unanticipated treat. Just announced earlier this week, the show will feature R&B singer Chrisette Michele, a Hip Hop hook-singer extraordinaire (with Jay-Z, Nas, The Game and others) who has also had a successful career on her own, releasing a handful of acclaimed, charting albums for Def Jam.

The other headliner is Rob Base, a Hip Hop artist most know from his 1988 hit with DJ E-Z Rock, "It Takes Two."

Because of the volleyball tournament in Washington Park tonight, gates for the concert won't open until 7:30 p.m. Another change from the usual Friday Flow flow (also due to volleyball) — no food, drinks or coolers will be permitted (this weekend only). Extra food vendors will be on hand to feed the masses.



Click here for even more live music events going on tonight in Greater Cincy.

 
 
by mbreen 08.05.2010
Posted In: MidPoint Music Festival at 12:56 PM | Permalink | Comments (0)
 
 
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Full MidPoint Schedule Released Friday

If you’ve been following the MidPoint Music Festival’s Twitter feed and Facebook page and keeping an eye on the official Web site (mpmf.com), you’ve been privy to a gradual stream of information about the artists performing at this year’s fest, coming up Sept. 23-25 in venues around Downtown and Over-the-Rhine, as well as the Southgate House in Newport. Tomorrow, be sure to check the MPMF site for the unveiling of the full schedule (including venues, dates and times). Even the schedule itself should be pretty cool. This year marks the debut of a new interactive sched that’ll make it easier for you to plot your MPMF course, with lots of new tech features.

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by Mike Breen 09.19.2012
 
 
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Daily MPMFer: The Dukes Are Dead, Tennis and More

The MidPoint Music Festival countdown is down to one week and one day

MPMF news and musings: The official MPMF.12 "Kick Off Celebration" is set for Wednesday, Sept. 26, in the Hanke Building just off Main St. (215 Michael Bany Way, between 12th and Reading). The free, open-to-all (21-and-up) party starts at 6 p.m. and will feature music from DJ Ice Cold Tony (who will be laying down some mash-ups featuring MPMF artists) and great Cincy rockers 500 Miles to Memphis will blow the rest of the roof off with a set starting at 9 p.m. There will be giveaways, free Vitaminwater, free Eli's BBQ (while it lasts) and a chance to win a pair of VIP tickets to the CityBeat-sponsored New Year's Eve blow-out at Bogart's featuring music by The Afghan Whigs.

And now, with the countdown down to just 8 days, here are our daily MidPoint Music Festival 2012 picks …

BIG SHOT
Tennis (Denver, CO)
Indie Pop

It’s been a breakthrough year for Colorado Indie trio Tennis, starting with the winter release of its stellar (and highly anticipated) sophomore full-length, Young and Old, on Fat Possum Records. After touring its comparatively lo-fi, critically-lauded debut Cape Dory (crafted by core duo Alaina Moore and Patrick Riley), the duo took its vintage Pop songs into the studio with The Black Keys’ Patrick Carney, who helped give the songs a more direct punch (resulting in the addition of a drummer to the fold). Where acts like Best Coast and Jesus and Mary Chain rewire the classic Pop of the ’60s, Tennis write songs that often recall the ballads of ’50s Pop, something more evident and effective on Young and Old, which charted well and performed exceptionally at college radio. The band’s songs have been used on TV shows like Grey’s Anatomy and are becoming favorites in the fashion world, and they’ve also made a fan out of the Republican (one of "the good ones") daughter of an almost-President, Meghan McCain, who tweeted her joy that Tennis had become the soundtrack to her summer this earlier this year.
You'll Dig It If You Dig: Lesley Gore, Dusty Springfield, the house band for Mad Men (if they had one). (Mike Breen)

Tennis performs at the Know Theatre on the Bioré Strip's Main Stage Saturday, Sept. 29, at 11:45 p.m. Here's Tennis' clip for their swoony tune "Pigeon."



SLEEPER PICK
The Bonesetters (Muncie, IN)
Indie Rock

Bonesetters don’t necessarily sound like a lot of bands but they fit well in the Midwestern construct of talented groups crafting a complex sound out of relatively simple ingredients. Sparse guitar melodies, both plugged and unplugged, are appointed with spartan rhythmatism, unexpected instrumental counterpoints (mariachi trumpet, keening violin, gentle vibes, wheezing harmonium) and a quiet sense of Indie Rock urgency on Savages, Bonesetters’ full-length debut from late last year. It’s easy to understand why Muncie loves Bonesetters, it’s harder to understand why they don’t play here all the bloody time.
Dig: Clem Snide, My Morning Jacket and Gomez making high lonesome carnival Surf Rock for emo hodads. (Brian Baker)

The Bonesetters perform Thursday in Washington Park at 5 p.m. Here's the band's debut album, which you can sample below, then download the whole shebang for free.


LOCAL LOCK PICK
The Dukes Are Dead (Cincinnati, OH)
Rock & Roll

If you’re a local Rock fan who has yet to catch a live show from exciting Cincinnati foursome The Dukes Are Dead, you’ve missed out on some great shows … and you only have this one more before The Dukes Are Dead are dead. In just a couple of years — first as “The Dukes,” before adding “Are Dead” to avoid confusion with the 17,000 other bands with the same name — the foursome amassed a loyal following and even got into theater, becoming the house band for the local staging of “Rock musical” Bloody Bloody Andrew Jackson. Though the band’s last show (sure to be a debauched blow-out) is this one at MPMF, there is hope for fans — in their farewell note on Facebook, it was announced that the members will each continue to pursue making music in the future.
Dig: No-nonsense Rock & Roll, bands with names that turn out to be prophetic. (MB)

The Dukes Are Dead's final show is Saturday, Sept. 28, at 8:30 p.m. at The Drinkery. The kind gentlemen of The Dukes are also giving fans some final recorded music as a parting gift — sample below then click on the player to download your free copy of the five-track EP, Before We Died.


Click here for full MPMF details via the official MidPoint site.

 
 
by Brian Baker 09.28.2013
 
 
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MPMF Day 2: MidPointing and Shouting

This is the midpoint of MidPoint, the second of the three holy days of September. A day of great adventure and great potential for misadventure that exceeds the anticipation of Day 1 and the inevitable denouement of Day 3. A day to love. But first you've got to get there, and an even longer drive down I-75 this afternoon meant that I was forced to miss Izzy & the Catastrophics (Note: Izzy and Co. rescheduled and play today at 6:15 p.m. on the Midway AND at Japp's at 12:30 a.m.) on the Midway and on the Midway and American Royalty at Washington Park. And my teeth are considerably flatter. Tomorrow I take my chances with the surface roads.

First up on the agenda was the third band on my Friday schedule, my beloved Black Owls at the Grammer's stage. With their brilliantly hallucinatory film projection playing out on the tent ceiling just above their heads, the band clicking with shambling precision and frontman David Butler in the middle of a 10-day cleanse (Five days without beer? Madness, I tell you, madness...), the Owls roared through a set that offered plenty of familiar favorites and a couple of brand new tunes slated for their imminent fourth album, Wild Children, the first to feature input from the full quintet.

As per usual, the chiming guitars of Ed Shuttleworth and Brandon Losacker offered glammy tribute to the gods Hunter and Ronson, while the intuitive headkick of rhythm section Sammy Wulfeck and Brian Kitzmiller ran like clockwork, if the clock in question is Big Ben. And David Butler continues to serve as vocalist/ringmaster, a perpetually compelling stage presence combining witty banter ("We're your Black Owls, supported by your tax dollars..."), kicky athleticism and a vocal presentation that thrillingly suggests Ian Hunter's mournful croon, David Byrne's artful warble and the jittery wonder of Jerry Casale. The only thing better than seeing the Black

Owls is seeing them again. They will be returning to the Northside Tavern in December; give yourself the gift of the Black Owls this holiday season, won't you?

I hung around and talked with the various Owls and their various lovely wives while Secret Colours provided a pulsing Psych/Space Rock-meets-Classic Rock soundtrack. Flecks of The Doors and Velvet Underground filtered through kaleidoscopic blotter tabs of the Brian Jonestown Massacre and The Dandy Warhols turned up to a Spinal Tappish and completely satisfying 11; that's the stock-in-trade of Secret Colours. A lot of the subtlety of their sophomore album Peach gets shaved off in their live presentation (although the melodica was a nice touch), but the band ably replaces it with a muscular and voluminous vibe that reverberates in your chest like a second heart.

From there, it was a brisk walk down to The Drinkery to catch The Kickaways who were using their MidPoint show to officially launch their sophomore album, Show Yr Teeth. It's an appropriate title since that's exactly what the band does on their latest effort, amplifying and refining all the elements that defined their 2011 debut, America! America! Although frontman Charlie Lynn played some guitar on Show Yr Teeth, he made the conscious decision to set it aside in The Kickaways' live configuration. That boils the band down to their charismatic lead vocalist and a tight-as-a-gnat's-ass power trio, a formula that worked pretty well for The Who, Led Zeppelin, Queen and Black Sabbath. 

Last night, it was the latter that seemed the most potent reference point, as The Kickaways seemed to be channeling Ozzy and the boys circa Paranoid but with the swaggering ethic of a great Psych-tinged garage band. Up front, Lynn was garage glamor personified, with leather jacket, a plaid shirt tied like a skirt at his waist and several layers of T-shirts, the top one reading "It Girl." No longer pinned down by guitar duty, Lynn was a singing dervish, occasionally banging a tambourine but generally flying around the stage and howling with mad but precise abandon. Guitarist/vocalist Remi Glistovski largely kept his head down and focused on producing riffs of Richter Scale proportions while Jacob Ittle inhabited his role as bassist with the mindset of a rhythm guitarist and drummer Adam Lambchop literally moved the air with his punishing skills, banging his kit with the authority of a skinny John Bonham. The Kickaways are more than ready for their Big Time close-up.

I reluctantly bailed on the end of the Kickaways' set to head up to the MOTR Pub to bask in the Pop/Rock splendor of Cincinnati's Tigerlilies. Pat Hennessy has been working this corner since forming the band in 1989 and while the band has gone through a few guitar partners (renowned and beloved oddball William Weber, former Lazy guitarist Steve Schmoll, guitarist-turned-producer Denny Brown) and several tweaks to his Power Pop concept, the Tigerlilies' core has always remained Hennessy on vocals and guitar up front and the durable rhythm section of brother Steve Hennessy on hammering drums and Brian Driscoll on thundering bass. Hennessy's latest guitar foil may well be the best in a long line of great six-stringers; Brendan Bogosian has an impeccable resume (TheWoos, Cash Flagg, Kry Kids, among others) and his razor-sharp skills and Pop/Rock nuance make him perfectly sympatico for Hennessy's punky take on crunchy Power Pop. Tigerlilies' just-released In the Dark may well stand as the best work in their excellent catalog, and this version of the band is clearly the reason as evidenced by the wall of sound emanating from the MOTR stage last night.

From there, it was a long walk down to Arnold's for the ecstatic blister of Cincinnati's Heavy Hinges. The band may have started out last year channeling the spirit of old Gospel 78s and Alan Lomax field recordings but they have graduated to an electric church service that pumps like an oil derrick with a swing sweeter than Ted Williams. It's Blues with a touch of Jazz with a heart needle full of adrenaline. Guitarists Dylan Speeg and Jeremy Singer can go from textured nuance to hot Jazz/Blues riffmongering in the blink of an eye, frontwoman Maya Banatwala works a lyric with the dramatic/comedic flair of a 21st century flapper (and bangs that ukulele like Betty Van Halen) and the slippery rhythm section of bassist Andrew Laudeman and drummer Brian Williamson establishes the ever shifting heartbeat of the band with intuitive brilliance.

In the Hinges' hands, "Ain't No Grave" sounded like it had been arranged by Carlos Santana, but it's the band's originals that stick in the mind and danced-off-ass the longest; "Mean Old City" offered up the band's patented thump-and-grind and "In My Dreams" showed their flair for electric Flamenco or something just like it. Banatwala noted that she doesn't celebrate Christmas, so MidPoint is her Christmas (Merry MidPoint, Maya!), and Speeg was at his cheeky best between songs ("The women in here tonight look like they were picked by Lenny Kravitz …"). If there's a more accomplished and diverse band in Cincinnati than Heavy Hinges, it's a safe bet that they're not half as entertaining. I could be wrong or drunk or both, but I don't think so.

And then it was midnight and time for my overall MidPoint pick, The Technicolors from beautiful Phoenix, Arizona, an area not necessarily known for its music scene. I had picked them to preview on a whim and listening to the music they I could find online absolutely floored me. In the preview blurb I namechecked Cheap Trick, Big Star, The Kinks, Led Zeppelin, Oasis, Todd Rundgren, Kula Shaker and Nada Surf. I stand behind any and all of that, but after witnessing their live assault, I can honestly say that it all comes together as The Technicolors, which now seems like a perfectly apt name.

In the studio, The Technicolors are formidable alchemists, transforming their influences into buzzing, crunching gold that becomes more appealing with each successive listen. On stage, the band taps into that primal sense of elation that occurs in the earliest moments of teenage discovery, when music is new and the vistas of what to explore next seem limitless. The Technicolors possess the aforementioned sonic reference points to be sure, but what they evoke as a band funneling all those sounds into their astonishing singularity is a return to that viscerally magic moment in personal history when one loses one's cherry to music.

Last night at the uberfabulous MOTR Pub, The Technicolors were a force of nature, the furies of Rock unbound. The twin guitar attack of frontman Brennan Smiley and Mikey Farizza were like David Copperfield's giant buzzsaws; potentially dangerous but ultimately entertaining. Bassist Mike "Nico" Nicolette looked as though he was having more fun than the audience as he joyfully bottomed the sound with a sinewy and insistent pulse, which was further anchored by drummer Kevin Prociw's purposeful bashathon. And tour keyboardist Troi Lownei (he appears on a couple of songs on the band's exquisite album Listener) added a dash of Radioheadness to the proceedings (if Radiohead had jumper cables attached to their undercarriages). 

Their studio version of Chris Isaak's "Wicked Game" supplants the original's icy cool detachment with a passionate embrace but in the live arena, the band plays up the sense of impending doom inherent in the "I don't want to fall in love" theme. And "Sweet Time" may simply be one of the best live translations of an already powerful song that I've been lucky enough to witness in four bloody decades of standing in front of bands.

Are The Technicolors the future of Rock and Roll? I wouldn't hang that albatross on any band, particularly one I love. The Technicolors will make you feel things about Rock that you haven't felt for a very long time, and that should be more than enough to recommend them.

FRIDAY NOTES:

• As Black Owls frontman David Butler was explaining his cleanse — his wife Amy is supporting by joining him — which features 10 beerless days, he noted that he's never felt better and his voice has never been stronger. Goose frontman Jason Arbenz aptly observed, "He's going to turn himself into some kind of superhero." I think he may already be there, dude.

• It was great catching up with the Owls and the Mrs. Owls (Amy Butler, Carrie Losacker and Sarah Kitzmiller). The ubiquitous King Slice, the barometer of all that is cool, was in attendance as was former CityBeat worker bee Sara Beiting, a pretty decent hipness indicator her own bad self. And Mark Houk from Sohio confessed to chills during the new Black Owls song, "Gasoline." I predict that's going to be going around soon, my friend.

• As I walked into The Drinkery, I was met by the whole of Alone at 3AM. They weren't hanging out in a bunch like The Monkees, they were getting ready for their imminent set after The Kickaways. Chris Mueller put a Yuengling in my empty hand and filled my empty head with joy. Brandon Losacker appeared to be handing me a beer during The Kickaways set but he quickly disabused me of that notion; it was meant as a toast. Note to everyone: if you look like you're handing me a beer, I'm going to look like I'm accepting it. Brandon did drop a shot of Jameson's in front of me, which will earn him a plaque upgrade in the Hophead Hall of Fame.

• On my way down to Mr. Hanton's (who now has a brick and morter store on Calhoun) to get a wonderful and nutritious Handwich (which is a hot dog as big as a Cuban cigar … I recommend the Smokehouse), I vaguely thought I heard someone yell my name, but I've been hearing voices lately and they seem to know me, so I gave it the same attention I reserve for car horns in parking lots which now go off for no other reason than someone locking their door. Luckily the hailing party was not part of my drug-fueled hallucinogenic past but the flesh-and-blood person of Ready Stance guitarist/vocalist Wes Pence. We vowed to meet at the Tigerlilies gig and did. Another way I knew he was real. I'm fairly sure.

• Also taking in the vast Power Pop beauty of Tigerlilies (and while I have the internet's attention, no, you overbearing suggestion Google dicks, I do not mean Tiger Lilies, I mean what I fucking well typed) were damn near all of Culture Queer — Jeremy Lesniak, who produced Tigerlilies' In the Dark, Dana Hamblen and Sam Womelsdorf, Fairmount Girls' Melissa Fairmount, the aforementioned Wes Pence and a couple of guys who remembered me from my Short Vine days in the late '80s — except they thought I was Jimmy Davidson. I told them I worked the counter at Wizard Records, but I don't think they believed me. I could have badly played any guitar in the joint to prove my identity, but it was just nice to be remembered.

• Sara Beiting was also hanging at Tigerlilies, along with perpetual MPMF and raconteur Jay Metz, who brought along Shuggie Otis' brother and drummer, Nick Otis. We had a brief but nice chat, got some pictures together and bid adieu. Shuggie had already left for a gig in Toronto, but Nick and some of the band stuck around to catch some MidPoint sounds before a 5 a.m. flight. Yargh. Hope they made it on time this morning.

• Brian Kitzmiller and his lovely wife Sarah also dropped in on the Tigerlilies. Brian actually bought me a beer but I didn't catch up with him until I was on the sidewalk outside the MOTR and was on my way down to the next thing. Sorry I stuck you with two beers, dude. I'm pretty sure you took care of it. While I was apologizing for making Brian appear to be a two-fisted alcoholic, Sarah pointed out a guy dressed in what seemed to be tin foil Post-It notes, which may have been advertising or just an odd fashion choice. If you'll recall from this space an almost unbelievable five years, Sarah, a first grade teacher, went to Staples to buy Post-It notes and actually had some stuck in her hair. Brian had told me the story, and the next night at Arnold's, I met Sarah for the first time. When Brian introduced us, I excused myself, reached into my pack, pulled out a handful of Post-Its, stuck them in my hair and shook her hand. So Post-Its are kind of our thing. And I was glad she pointed out the tin foil Post-It guy, because I saw him as I walked out the door but I chose to ignore it, just in case it was another alcohol fueled flashback to the acid days of yesteryear. As long as she saw it too, it was all good.

• Right on cue, King Slice strolled into the Heavy Hinges gig and anointed it as the cool place to be at 11 p.m. on MidPoint's second night. And so it came to pass. Also making an appearance right before I was ready to hit the sidewalk was former Buckra guitarist and ever-present MPMF staffer Jacob Heintz, checking out his old bandmates and hanging around waiting for the next emergency, which I hope never came. It never seems like a complete MidPoint experience until I've had a chat with Jacob, so now it is.

• Plenty of folks in attendance at the Technicolors soiree back up at the MOTR, which I hope I had at least a little something to do with. My pal Paul Roberts was there to buy me a fabulous beer from the MOTR's endless taps, with his buds Big Jim and Little Stu in tow. Stu even had a hat made with his name on it so I'd bloody well remember that his name is Stu. If he had said, "My name is Stu, how do you do?" that might have been perfect. The hat was pretty awesome at any rate. If I forget Stu now, it will be evidence of drug backlash or a stroke. Just so you know.

• I spied former CityBeat editor John Fox in the MOTR crowd so I headed over to say hello. As I have explained in the past, I owe John an incredible debt of gratitude for recruiting me for CityBeat nearly 20 years ago and for insisting that I write features for him rather than reviews. It was literally a life-changing conversation, and I can't begin to thank him enough for the opportunity he gave me in the beginning and his faith and guidance in the subsequent years. Once again, he left before I could get that beer into his hand … I'm clearly going to have to drive the truck up to his house. The only thing is I don't know where he lives; his faith in me, it would seem, had limits, which I completely understand. Thanks again for everything, John, you gave me a chance to be a part of something special. My current status as a poverty-wracked, free-beer-swilling hack is all on me.

• I tried to get down to the Mainstay in time to see some of Bella Clava's set because their appearance at The Drinkery last year was one of the festival's highlights for me. Sadly, they had just finished when I pulled up, but I did get a chance to chat with keyboardist Caitlin Dacey and guitarist Steve Suttie as they loaded out. As it turned out, the band is staying with Honeyspiders frontman Jeremy Harrison, whose new outfit also played on the evening's Mainstay bill. Honeyspiders is clearly a band to keep on the radar; the limited recordings they've shared to date are potent evidence that something big is going on there

 
 
by mbreen 07.24.2009
Posted In: MidPoint Music Festival at 09:24 AM | Permalink | Comments (1)
 
 

MidPoint Music Festival Details Revealed Today

Update: The complete schedule so far is posted here: http://mpmf.com/schedule

If you've been waiting to hear what this year's MidPoint Music Festival will look/feel/sound like, today you'll have the chance to find out a bunch of details. MPMF's Executive Director Dan McCabe will be on WOXY.com at 3 p.m. this afternoon to talk about new features and announce (and play music from) a lot of the bands booked — give it a listen here. And be sure to be at Fountain Square tonight for the free MidPoint Indie Summer series show with Bad Veins, You, You're Awesome, A Decade to Die For and Thing-One, as the full lineup so far is unveiled. Below are a few other fun facts about MPMF09.

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by mbreen 04.07.2009
Posted In: Local Music, MidPoint Music Festival at 01:31 PM | Permalink | Comments (0)
 
 

Attention Musicians: MidPoint Music Fest Deadline Looms

If you're a musician interested in performing at this year's MidPoint Music Festival and you haven't submitted your materials for consideration, time is running out. Next Friday, April 17, is the "early deadline" for submissions.

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