• The Winery Dogs released their first album in July, but if you are a serious fan of Progressive Metal and Hard Rock, you were likely already familiar with the virtuosic instrumental prowess of the trio’s members — drummer Mike Portnoy (cofounder of modern Prog legends Dream Theater), singer/guitarist Richie Kotzen (Poison, Mr. Big) and masterful bassist Billy Sheehan, who has played with David Lee Roth, Mr. Big and many others. The Dogs sport a heavy, Classic Rock-influenced sound akin to Led Zeppelin but distinct due to the players’ flashy, progressive riffing and drumming.
The trio plays Corryville’s The Mad Frog tonight. Doors open at 8 p.m. and Sixxis is the opening act.
Here’s a nice review of the Dogs’ show in Cleveland over the weekend. Check out the band’s music video for the track “Time Machine” below:
• The instrumental quintet Lotus is one of the leading forces in the Livetronica movement, which features artists taking an Electronic and Dance music core and turning it inside out, mixing in plenty of other influences and leaving arrangements wide open for live-show improvisation. Embraced by the “Jam Band” community, groups like Lotus (which dips into Rock, Funk, Jazz, Post Rock and beyond on its musical adventures) are helping to push the boundaries of improvisational music in a modern context.
The band’s 2013 album Monks is another great example of Lotus’s creative membership pushing forward without any genre anchors around their necks. The LP is a compelling Hip Hop record featuring numerous guest MCs, including Mr. Lif, Gift of Gab, Lyrics Born and several others. The album is available for free download here.
Lotus performs at Covington’s Madision Theater tonight with exquisitely monikered (and musically like-minded) Electro trio Cosby Sweater opening things up at 8 p.m. Admission is $20 at the door.
Here’s the Monks track “Cloud 9,” featuring Philly MC Ras Arcane and Digable Planets’ Doodlebug:
• After all the reported in-fighting, hiatuses and breakups they’ve been through, it seems like rockers The Black Crowes have finally realized that, both creatively and financially, they need each other. The band have become a bit like The Rolling Stones in that way — after so many years and so much chemistry, even though Mick and Keith often seem to despise each other, they keep the Stones flag flying because it’s what they do. The Crowes are in an interesting position, where they can still go out and just play their “hits” and fan favorites, continually drawing big crowds thanks to the cultishly loyal fan base they’ve built up over years of amazing live shows.
That’s just what the Crowes will be doing tonight when they return to the Taft Theatre tonight for an 8 p.m. show. There’s no new album (the most recent Crowes release was 2010’s Croweology, a retrospective consisting of mostly acoustic versions of their finest songs), so expect a fan-friendly set of Crowes faves, a cover or two (the band has been doing Fleetwood Mac’s “Oh Well” on this tour) and lots and lots of jamming. Though the continued success of the band on the road suggests this is far from the band’s last tour, the Crowes have said this will be their last jaunt for a while as they tend to other projects outside of the band.
Here’s a big chunk of a Crowes’ performance in Virginia this past September:
• After four albums on which he played every note, David Obuchowski’s Distant Correspondent project morphed into an actual “band” this year with a self-titled debut album release and the launch of its first full U.S. tour. Obuchowski had been operating the DC project on the side, with his main band, Indie Metal powerhouse Goes Cube, taking up most of his time. Distant Correspondent started to blossom when Obuchowski began trading recordings and collaborating with Michael Lengel over the internet. The collaboration grew to include other members, including Emily Gray from the U.K.’s Meanwhile Back in Communist Russia and acclaimed solo artist Edith Frost.
Fans of Goes Cube should know that Distant Correspondent’s music is a different beast entirely, emitting evocative, hypnotic soundscapes that have landed them the “Dream Pop” tag. For the band’s first full American tour, Cincinnati’s Margaret Darling, whose popular local band The Seedy Seeds announced an indefinite hiatus this past summer, joined the group, taking the place of Frost, who was unable to tour. (Read Brian Baker's DC preview for CityBeat here.)
Here is Distant Correspondent’s music video for the new album track “Shatter.”
• This past September at Cincinnati’s MidPoint Music Festival, South Korean rockers Love X Stereo were one of the more anticipated international acts in the lineup. But due to some travel issues, the band was unable to get out of Korea in time to make the festival. The group, which plays highly danceable Electro Rock music heavily influenced by ’90s American Alternative music and Punk, promised to make it back to Cincinnati as soon as possible and, tonight, Love X Stereo makes good on that promise.
The band performs a free show tonight at MOTR Pub in Over-the-Rhine. Eclectic Bloomington, Ind., Indie/Psych Pop/Rock trio Fluffer — which did perform at this year’s MPMF — opens the show at 10 p.m.
Here is the audio for Love X Stereo’s “Lose to Win,” the lead-off track on the band’s new EP, Glow, which was put together for the group’s first U.S. tour.
Greater Cincinnati Rock band Pike 27 was a staple on the local club circuit in the early-to-mid-’00s, playing sweaty, raucous live shows to a dedicated following (headlining and opening for the likes of Dave Alvin and Chuck Prophet) and releasing the acclaimed full-length, Falling Down Hard, in 2001. But in 2007, frontman/guitarist/singer/songwriter Dave Purcell left Cincinnati for Northern Ohio, taking a job as a sociology professor at Kent State.
This past summer, Purcell returned to Cincinnati and resurrected Pike 27 with a new lineup. Returning to his role as Pike 27's bassist is Sean Rhiney, formerly of Clabbergirl (in which Purcell played rhythm guitar) and co-founder of the MidPoint Music Festival. New to Pike are guitarist Mike Fair (Wojo, Mike Fair & the Adventure Seekers) and drummer/multi-instrumentalist Dave Killen, a professor at Cincinnati State.
The “new” Pike 27 has moved away from the Americana/Roots Rock style it was known for, a reflection of the new songs Purcell has written for the band. (The group is also reviving some older material for its upcoming live shows.) Purcell says that while working on the new songs, the members have remarked that the material is more in line with artists like Robyn Hitchcock, The Kinks, Graham Parker and Grant Lee Buffalo — still smart, catchy and rockin’, but with the twang dialed back.
"How do you pin down REM, Elvis Costello or Glen Hansard?" Purcell says of Pike 27’s less easily categorizable style. "We hope to land in there somewhere — jangly, smart, sometimes noisy, joyful. Good to raise a pint to."
New York City Ska legends The Toasters were the bridge from the late ’70s 2 Tone Records-fueled Ska revival in the U.K. to the one that brought Ska into the American mainstream in the ’90s. Easily one of the most influential Ska acts of all time, The Toasters were formed in 1981 by Robert “Bucket” Hingley, a U.K. native (and the group’s lone constant member) who had just moved to The States, taking inspiration from the 2 Tone Ska being created in his homeland (The Beat, The Specials, The Selecter, etc.).
The Toasters, in turn, helped inspire multitudes of Ska bands to form, something that ultimately led to the development of so-called Ska Punk. Having a hard time finding a label, Hingley formed his own, Moon Ska Records, which grew to become the major American Ska indie imprint, releasing music (via albums or the label’s popular compilations) by The Slackers, Dance Hall Crashers, Mustard Plug, Less Than Jake and No Doubt, among many others. The Moon label was a road-map to quality American Ska when the music was more underground; the imprint, which was artist- and consumer-friendly (like Punk label Dischord, Moon always kept prices low), experienced its greatest success during the ’90s Ska boom, but when the music fell out of mainstream favor, the label faded away. Hingley moved to Spain, where he formed another label, Megalith, to continue releasing Toasters albums.
The Toasters were the cool elder statesmen of the Ska scene and they’ve survived the fickleness of musical trends and an ever-changing music industry for over 30 years now by doing things on their own terms and keeping true to their vision.
• Nashville’s Escondido came together quickly but very naturally. The project of Jessica Maros and Tyler James (a solo artist who has also toured as pianist for Edward Sharpe and the Magnetic Zeros) got its start in James’ home studio when he was recording an artist with whom both were friends. During a recording break, Maros, a Vancouver native and successful clothing/jewelry designer, was casually playing a song in the studio, James hit “record,” added some light ornamentation and, essentially, Escondido was born. That night, the two decided to make an album. Fittingly, the album — Esondido’s debut, titled The Ghost of Escondido — was recorded live in just one day with a handful of talented Nashville friends/musicians, even though it sounds incredibly cohesive, full-bodied and organic.
The making of the full-length, released at the start of this year, was driven by the spirit of Ennio Morricone, the legendary spaghetti western soundtrack genius, and that desert-sunset atmosphere meshes beautifully with the band’s mix of Indie Rock, Pop and Country. The end result is mesmerizing, a hazy, dreamy collection of haunted, mysterious soundscapery and spine-tingling harmonies and vocals, making the band reminiscent of a slightly twangier, more dynamic and grounded Mazzy Star. Along with garnering a wide-range of supporters, from the tastemakers at KCRW to the writers at Vogue, The Ghost of Escondido also made a fan out of eccentric filmmaker/artist/writer/musician David Lynch, who wrote about his love for the band in Mojo magazine.
Here’s the music video for Escondido’s “Black Roses.”
The duo (fleshed out by a full touring band) performs a free show tonight at MOTR Pub in Over-the-Rhine. New York City’s Indie Pop/Garage Rock group Unicycle Loves You opens the show at 10 p.m.
• Tonight at Covington’s Madison Theater is a good chance to hear what a “Jam Band” sounds like in 2013, as several groups join forces for an all-ages, 8 p.m. show. Or, rather, you’ll hear how almost no two “Jam Bands” sound alike anymore, making the Grateful Dead-mimicking cliches about the scene completely outdated. Today, the “Jam” tag has less real meaning than ever, with the groups earning the descriptor exploring a huge range of styles. Jam Bands now often share little more than a tendency to improvise.
Headliners Dopapod epitomize the diversity of the modern Jam scene with their progressive blend of Electronic music, Jazz, Rock, Soul, Funk and various other styles. The Brooklyn, N.Y., group released its third studio album, Redivider, late last year, introducing fans to a Dopapod first — vocals (previously, the band was all instrumental). Read Brian Baker’s preview of the show for CityBeat here.
The support lineup for Dopapod is a varied collection of mostly local bands that reflect the same kind of sonic adventurousness as the headliners, though, of course, each bringing their own slant — Ethosine, Nevele, Us Today, Freeform Connection, Peridoni, Aliver Hall and Blue Moon Soup. Tickets are $15 at the door.
• Though they never reaped the full rewards and commercial success that some bands that came after them did, Michigan’s Mustard Plug was one of the early guiding forces behind the ’90s Punk Ska explosion. The band put out its first album, Skapocalypse Now!, on cassette in 1992 and moved up to third-wave Ska’s version of 2 Tone Records, NYC’s Moon Records, for its second full-length, kicking off two decades of hardcore international touring.
Mustard Plug later joined the roster of Hopeless Records, which would go on to become one of the top independent Punk labels in the country. While the vast majority of Ska Punk bands from the ’90s either moved on to another style of music or imploded after the “craze” died down, Mustard Plug continues to write new songs, put out new music and tour on a regular basis, its loyal cult of fans proving that, while you won’t hear it on the radio anymore, there is still an audience hungry for Ska Punk done well. Mustard Plug has been operating D.I.Y. since parting ways with Hopeless; a new album (the band’s first since 2007’s In Black and White) is reportedly finished and due soon thanks to a successful Kickstarter campaign.
Mustard Plug plays a free show tonight at Northside Tavern. Opening is Cincinnati’s Elysian Souls.
• October is coming to an end, which means Rocktober is also almost over and Rocktober on the Square, a new every-Friday concert series at downtown’s Fountain Square, is winding down as well. Today at 5 p.m., the final Rocktober on the Square show starts with a set from great, rootsy singer/songwriter Josh Eagle.
In the 6 p.m. slot is singer/songwriter Mike Oberst of popular Cincy Folk group The Tillers, who are heading overseas for their first ever U.K. tour, playing Nov. 1-16 throughout England, Scotland and Ireland as support for Pokey LaFarge.
The always fantastic 500 Miles to Memphis closes out Rocktober at 7 p.m. It’s the rowdy, rootsy rockers’ last local show of the year; the 500MTM fellas are taking a break from performing to go back into the studio to finish their next album.
Rocktober on the Square is a free event. Click here for more info.
• Don’t forget — the One More Girl on a Stage benefit concerts continue today after last night’s kickoff at various venues in Over-the-Rhine. The OMG fest takes over the Southgate House Revival in Newport for a “whole house” show tonight starting at 7 p.m. Go here for complete details.
Instead of hosting the festival at one venue, this year’s
One More Girl benefit has expanded to six local venues in two cities
over three nights. The lineup for One More Girl showcases female solo
artists and bands with a female presence (mostly) from the Greater Cincinnati
area. Many of them also happen to be some of the best acts in the
region, playing a range of styles that includes everything from Hard
Rock and Pop Rock to Bluegrass, Folk and many other variations on the
Below are the lineups, links to venues and performers and a few samples from the some of the acts.
One More Girl on a Stage kicks off tonight in
Over-the-Rhine, with artists featured at four venues. There are no cover
charges at any of the venues.
8:30 p.m. Good Night Noises
8 p.m. Charmed & Tarnished (a new project from Kelly Thomas and Randy Steffen)
9 p.m. The Missy Werner Band
7:30 p.m. Holly Spears Band
12:15 a.m. Sassy Molasses
10 p.m. Jesse Thomas
Saturday’s OMG performances will be held on two stages at Newport’s York Street Café beginning at 7 p.m. Admission is $10 or you can purchase a Friday/Saturday pass for $20 in advance, which will get you into both the Southgate shows and the ones at York Street (click here to purchase).
Third Floor Art Gallery Stage:
10 p.m. Carole Walker
11 p.m. Hickory Robot
Second Floor Stage:
10:30 p.m. Alone at 3AM
11:30 p.m. Kelly Thomas and The Fabulous Pickups
Though eclectic enough to be considered “AltCountry,” Terminal Union captures the heart and soul of vintage Country on Making Arrangements. What puts Terminal Union ahead of many of their peers — and makes these songs so riveting — is the emotional weight the frontmen inject into the writing and performances. Being able to make an immediate emotional connection with listeners is not something you can learn; it's innate.
On the song "Magnificent Sounds," the group pays tribute to another pair of artists who also came off as instinctively talented and able to bring a soul-stirring levity to practically every note played, seemingly effortlessly — Miles Davis and Townes Van Zandt. Veteran local musician Michael "Mad Dog" Mavridoglou provides some bonus passion with his warm Jazz trumpet riffs on the track, which somehow sounds completely at home in the band's Country/Roots context.
Elsewhere, highlight tracks like “Comeback Kid” and “Devil’s in the Details” have the power of Steve Earle in peak form, while the piano-buoyed “One of the Ones” and “I Fell You” are wonderfully composed ballads that defy genre classifications — they are simply amazing, timeless songs.
Preview a pair of songs from Making Arrangements below. Visit terminalunion.com for more on the band and see them live this Saturday at Newport's York Street Cafe, where the group will be participating in the One More Girl on a Stage benefit show.
So what the heck happened at the concert by the always dazzling Neko Case at the Taft Theatre last night? Case's biggest show ever in the Cincinnati area was musically solid, but didn't go as smoothly as planned thanks to flared tempers, the proliferation of smartphone cameras and some angry and/or obnoxious audience members. It's safe to say that you can add Case to the increasingly growing list of performers who are losing their patience with omnipresent smartphone use at concerts.
Case is fairly prolific with her Twitter account, but her tweets from yesterday showed no clear indication of the kerfuffle. Earlier in the day, she praised Iris Book Cafe for their hospitality and good grub and, post-show, she tweeted "Thank you, Cincinnati, you are kind folks," followed by some heart symbols. (Sarcasm?)
CityBeat contributor Keith Klenowski was there to photograph the show (not on his phone; he was credentialed) and says the problems started during the second song of the night, when Case stopped the show and asked everyone to stop taking photos with their phones because the flashes were bothering her. Things calmed down, people seemed to oblige and the show picked up again.
Several songs later, according to Klenowski, Case stopped the show again and appeared to be talking to a fan near the front of the stage about putting their phone away. Case made a comment about happily refunding tickets, adding, "Just put away the cameras. It isn't going to kill you, but it might kill me" and "You can boo and call me a spoiled Rock star. I am." Case claimed there were signs about cameras posted around the venue, though Klenowski says he didn't see any.
Case's reaction was met with a mix of cheers and boos; some people got really bent out of shape about her protestation. "I (saw) people put on their coats and walk out," Klenowski says. "One guy (flipped) her the bird and storms out."
He says that not long after the second stoppage, a woman came down the aisle towards the stage and took a photo before immediately being escorted out by security. Before the band returned for an encore, Klenowski says he saw another skirmish that involved a man arguing with security as he was being kicked out.
"Neko looked tired and even admitted at the start that it was time to wake up or something like that," Klenowski says, adding that the singer was apologetic to the non-heckling/non-photo-taking fans throughout the show and at the end of the night. "I got her frustration, but I have never seen anyone threaten to leave and stop a show because of it."
• The first time I saw Neko Case was a complete accident. I was in Chicago around the most recent turn of the century and went to see Indie Rock singer/songwriter Edith Frost at the small (but popular) club Lounge Ax and Case and her “Boyfriends,” as her backing band was then called (really Canadian Roots rockers The Sadies), opened the show with a great set. Though I’d heard of Case, seeing her live was revelatory — the singer/songwriter (also part of Canadian Pop collective The New Pornographers) has one of the most soulful, mesmerizing voices in music today and, once I’d heard it, I was hooked for life. Case’s transcendent pipes are only comparable to legends like Patsy Cline (though Jenny Lewis has made quite the solo career aping Case).
Working in a folksy musical realm (though not tethered to any specific style), Case has yet to release a bad album, though her latest for Anti- Records, the recent The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, has received mixed reviews (likely more indicative of a press corps bored with her astonishing consistency than the actual album itself, which is excellent). I’ve seen Case numerous times since that happy accident in Chicago — including dates at Chicago’s Metro and at Newport’s Southgate House — and I’ve never left in any other state besides “spellbound.”
Case comes back to the Cincinnati area tonight for a show at downtown’s Taft Theatre (her largest local appearance yet) with special guest and fellow red-headed singer/songwriter Karen Elson. Tickets are still available for $35 at the door.
Check out Jason Gargano's feature story on Case from this week's CityBeat. Here's the "lyric video" for The Worse Things Get track "Night Still Comes."
• Over the past two decades, Built to Spill has become a legendary cult band, remaining a solid concert draw across the nation and releasing some of the most brilliant guitar-driven Indie Rock albums of the ’90s and ’00s. Led by singer/guitarist Doug Martsch, BtS formed in Boise, Idaho, in the early ’90s, and worked with a lot of Pacific Northwest musical institutions on its way up. In 1995, as the major labels were winding down their signing frenzy in the wake of Nirvana's huge success (signing seemingly every band even loosely associated with the words "Seattle" or "Grunge"), Built to Spill inked with Warner Brothers Records, which has released six stellar albums by the band since 1997, including the crew's masterful debut for the label, Perfect From Now On, and 2009's There is No Enemy, the group's most recent album.
Like label mates The Flaming Lips, BtS has been the rare band that has sold consistently enough to remain signed to a major label for well over a decade thanks to the consistent quality of its work, heavy touring and an incredibly dedicated following. It's refreshing to see a big-time label stay so loyal to a group that will probably never sell a million copies and even more probably won't ever have a big hit single. (Despite rumors, BtS is not breaking up; a new album is in the works and expected by the end of 2014.)
Built to Spill performs tonight at Newport, Ky.'s Southgate House Revival with guests Slam Dunk and Genders. Showtime is 8:30 p.m. and tickets are $25 at the door.
With its first three releases and about a decade worth of live shows across the region, The Frankl Project has honed a sound that has earned notice for its crafty blend of Rock, Pop, Punk and Ska. But the Cincinnati trio’s recent album, Standards, showcases the sound of a band finding its own unique voice and running with it.
While those aforementioned influences are still evident, the group skillfully and more subtly integrates them into something they can completely call its own. What hasn’t changed is that The Frankls (drummer/singer Joseph Frankl, guitarist/singer Jacob Tippey and bassist/singer Paul Schroder) still write excellent songs featuring hooks a plenty and often anthem-ready, spine-tingling choruses. But the variety of the album and the way the trio presents the songs is what makes Standards so magnetic.
Unlike most Pop Rock bands (especially ones that have a “Punk” element or pedigree), The Frankl Project doesn’t try to overload its tracks with giant-sounding guitars that fill every nook and cranny, opting instead to leave lots of space to create a distinctly airy aura. Allowing the tracks to breathe and rise and fall without resorting to predictable dynamics recalls the less-is-more approach that Indie Rock stars Spoon do so well and makes Standards a gripping listening experience. With that sonic elbowroom, the musicians’ intriguing individual parts are more perceptible (Frankl, in particular, is an incredibly musical drummer and his parts — like Tippey’s guitar work — are often captivating) and add to The Frankls’ uniqueness. But the stellar songwriting is still the primary focus.
The album kicks off with “Alive on the Road,” a swaying rocker that soars on the three musicians’ airtight harmonies, while “My Hands” has a rootsy sway that would make Jay Farrar nod along approvingly. After a string of heart-swelling, evocative Pop songs, the band throws in a few curves, like the jazzy but intense “Heart Shapes & Hand Grenades,” the quirky but still resonant Indie Pop gem “Find Your Way,” the ghostly, slow-burning “Chai Bones” and the album’s most rocking track, “The Ottoman.”
If Weezer, Bad Veins, Ben Folds Five, Sunny Day Real Estate and Band of Horses every decided to make an album together and hired a producer with expert knowledge on how to utilize atmosphere as another instrument (like Joe Henry, Brian Eno or Daniel Lanois), it might sound like an unfocused patchwork of lazy, hazy Pop. But, if they (and you) were lucky, it would sound more like The Frankl Project’s impressively creative Standards.
Visit thefranklproject.com for more about Standards and The Frankl Project.