Over the past decade-plus, Cincinnatian Eric Diedrichs has continually made splashes on the local music scene with the Pop/Rock band The Simpletons and his Cari Clara project (a mostly solo venture in the studio, but also a live band). A few years back, Diedrichs moved to Lexington, Ky., but Cari Clara continued, the live version of which (though largely on hiatus the past year or so) still featuring mostly Cincinnati area musicians — Eric’s brother Mark Diedrichs, Greg Tudor, Jason Arbenz (also of Goose), Josh Hagen and 500 Miles to Memphis frontman Ryan Malott.
Last summer, Diedrichs digitally released his fourth effort for Deep Elm Records, the elegant, evocative 10-track album, Midnight March. This Friday, Diedrichs returns to Cincinnati to celebrate the album’s physical release at Northside Tavern. The free local appearance will feature the full Cari Clara band, plus Cincinnati’s Ohio Knife and Dayton’s Motel Beds as openers.
Diedrichs recorded and produced the expansive and engrossing Midnight March in his home studio in Lexington and the crisp sound welcomes the listener to come inside and get lost in the unique textures and tide-like tempos and structures. Though a lot of “one-man show” albums lack a certain warmth and cohesiveness, Cari Clara is the rare all-solo effort that sounds and feels like a large, full band. But the music is rarely grounded, instead relying on a magical, ethereal aura upon which the songs hover.
Diedrichs has skills to spare — he’s an amazing vocalist, brilliantly able to translate emotion into words, melody and voice, and his top-notch musicianship (on guitar, bass, piano and a variety of programming and other instrumentation) is apparent on first listen. But as Cari Clara grows and evolves, the way Diedrichs constructs and conducts the varying sounds and layers has become dazzling, adding an extra level of enchantment to his always stellar songwriting prowess.
Midnight March is best listened to in full (once you start, you’ll have a hard time stopping anyway), a victory for the dwindling art of making a cohesive album and not just slapping together a collection of songs. Diedrichs says the album is something of a “coming of age” story, saying it’s “an emotional exploration of my own journey from childhood to adult.” That thematic thread is something everyone can relate to and Diedrichs’ lyrics have never been better.
From the shiver-sending ambiance of “When You Knew It” and orchestral, acoustic guitar-driven “Homage to Excess” to the slinky verses and charged, towering choruses of “Battle Hymn” and the Radiohead-meets-Postal Service slowburn of “Safe,” Midnight March is loaded with musical drama, with practically each song building from a hypnotic hush to exhilarating crescendo. With deft arrangements and orchestration, provocative lyrics and brain-burrowing melodies, Diedrichs has made the recording of his career. And, in many ways, it feels like he’s just getting started.
Deidrichs has the talent to become a career artist; hopefully Midnight March reaches the wider audience Cari Clara deserves so he is able to do just that.
Click below to preview and purchase Midnight March.
The Country Throwdown Tour wraps up in a few weeks. By all accounts it has been a success, drawing large crowds and little, if any, controversy. We caught up with Emily West, Heidi Newfield, Sean Patrick McGraw, Sarah Buxton & Jedd Hughes while they were on tour to get inside their heads.
Lucinda Williams is a premier female act in Country and American Folk music. She has been blazing the roads since the late ’70s and has not slowed down. She still appears at music festivals all across the country, even gaining international acclaim. Her most recent album, Blessed, is her eleventh studio album. Williams has been nominated for 14 Grammys, taking home three awards. In 2002, Time magazine called her “America's best songwriter.”
Last night, the music of Cincinnati — past, present and future — was on glorious display at Covington's Madison Theater. Yes, we realize it's a little weird to have the Cincinnati Entertainment Awards (which celebrated its 13th birthday last night) in Kentucky. But the Madison provided a more casual "Rock & Roll" atmosphere than past years' events, so, just as airport developers did in the ’40s, we've decided to claim Covington as Cincinnati, at least for one night.
The "bar" ambiance (and lack of a smoking ban in Kentucky) kept everyone off the sidewalks and in the venue, though we're certain many woke up this morning with the old "my clothes and hair smell like smoke" complaints. Fear not: Official CEA2010 gasmasks and Hazmat suits are being produced as you read this.
Voting for Greater Cincinnati's annual celebration of our amazing local music scene, the Cincinnati Entertainment Awards, is now open. Vote for your faves or, even better, do some research online, check out all of the nominees and THEN pick who you think is most deserving.
Click here to get started on your ballot.
The 16th annual CEA ceremony will be held at Covington’s Madison Theater on Jan. 27, featuring more live performances than ever and first-time host Ted Clark, known for his monthly “live chat show” Ted Clark After Dark. Ted will present a special edition of Ted Clark After Dark at the after-party, this year held at The Loft, just around the corner from the Madison and above Tickets (the former home to the Rock club Radio Down). The after-party will also include the annual “Fashion Trashies,” presented by members of local Indie Pop legends The Fairmount Girls and honoring the best/worst/weirdest-dressed CEA attendees.
Tickets to the Jan. 27 ceremony/party will go on sale this coming Wednesday through CincyTicket.com. Proceeds from ticket sales are being donated the Cincinnati USA Music Heritage Foundation.
Another new aspect of this year’s CEAs involves the “New Artist of the Year” nominees. The acts nominated in that category will perform at the first-ever CEA new music showcase at Bogart’s on Jan. 18 (confirmations pending). Audience votes at the event will help determine the winner of the category, along with votes from the nominating committee (who also choose the Album and Artist of the Year winners).
Tickets for the new music showcase will go sale soon through Ticketmaster.
Now, a few words on "the process." Since the nominees were announced on Wednesday, I've received several queries asking "How do I get nominated for a CEA?" from various artists and/or their representatives.
It's the same answer found in the old joke, "How do you get to Carnegie Hall?"
Practice. And also work hard and keep spreading the word about your awesome music.
As has been the case in the entire the 16-year existence of the CEAs (and as has been noted every year in our coverage of the event, including this year), a nominating committee is assembled each year to determine the CEA nominees. These include writers, promoters, club owners, local-music radio hosts and others whose opinion on local music-makers we trust. This year's committee included approximately 40 such people. We try our best to include those whose expertise is either wide-ranging or specific to a particular genre represented in the CEA categories. (Judges do not have votes counted if they're cast for an artist with whom the judge directly works.)
This year, invitations to participate in the nominating process were sent out to nearly 70 people, so obviously certain experts declined to participate, missed the deadline for nominees or just ignored our request.
The committee is asked to nominate up to three artists per category who caught their eyes and ears this past year. The only guidelines are that the artists should have been active in the past 365 days, the nominees should be largely original (though certainly talented, straight-up "cover bands" are generally not eligible) and the judges are also instructed to give special consideration to any act that has released new recorded material in that same time-frame.
The CEA nominating judges are listed in the CEA "program" annually. I will not release their names here because I've personally received many rude or stupid emails telling me what an idiot I am for not nominating "fill in the blank." The nominating committee was kind enough to participate; I don't want to open any of them up to such haranguing and harassment.
Finally, I'd just like to say that every year there are TONS of really great acts that deserve a nomination but don't get one. It's not personal. It's not "political." It's not "who you know." It's simply a matter of time and space. If every artist who deserved a nomination got one, the CEA show itself would run 16 hours — and that's just to read the nominations for each category.
I agree to some extent that award shows like these are a little frivolous and that the process for nominations isn't perfect. It never is, for any awards show. We have thought about letting the public nominate the artists (a la the long-gone "CAMMY" awards presented by The Enquirer), but ultimately feel that the way the CEA process is set up works best. Because, ultimately, whoever wins their category is going to deserve it.
Though we take the process seriously, we've always thought of the CEAs as more of a celebration than a contest. I invite you to think of it the same way and join us for the show, whether you were nominated or not. The CEAs are for the ENTIRE Greater Cincinnati music scene. The awards are just a good excuse to get everyone together. Instead of being a sore sport about your lack of attention, come out and congratulate and party with your fellow nominees.
One of Cincinnati's finest Indie acts, the brilliant Bad Veins, has split in two. Last night, BV's singer/songwriter/guitarist/keyboardist Benjamin Davis took to the group's website to announce that founding member, drummer Sebastien Schultz, has decided to "move on from his time with Bad Veins."
Schultz — previously the drummer for local Indie rockers Cathedrals — had been a member of Bad Veins since almost the very beginning; Davis' first Bad Veins show was a solo affair opening for late Cincy duo wil-o-ee. As the pair told me for a 2008 CityBeat cover story, Schutlz was at the show (though he left early) and joined shortly after. He's played on all of BV's releases, including the most recent LP, The Mess We've Made, and toured extensively with Davis for the past five-plus years.
Thankfully for BV fans, this is not the end of the group. "The show must go on!" Davis said in his website post, expressing excitement for Bad Veins' future:
"I’m going to use this opportunity to do something I’ve been thinking about for a while, and take Bad Veins in a bigger direction, adding others members, bass, keyboard etc. I’ve already received a number of offers from musicians to join but haven’t made any decisions yet. If anyone has any recommendations, hit me up! The plan is to get back on the road this spring!"
We had heard rumblings about the split prior to this past Sunday's Cincinnati Entertainment Awards. Davis ended up opening the show solo (with taped backing), closing his set with a great, orchestral version of The Muppets' "Rainbow Connection." (The CEA show was filmed and will be airing locally on cable; a special, limited-edition DVD will also be available — stay tuned.)
Bad Veins is booked to play an all-ages show presented by the Counter Rhythm Group on Feb. 16 at Rohs Street Cafe in Clifton Heights along with PUBLIC and The Ridges. More info is available here.
Cincinnati's summer concert schedule got a lot cooler this morning, as organizers announced some of the performers at this year's inaugural Bunbury Music Festival, which will go down July 13-15 across six stages along the riverfront at Yeatman's Cove and Sawyer Point. Bunbury founder Bill Donabedian (who co-founded CItyBeat's MidPoint Music Festival and helped turn Fountain Square into a legitimate live music outlet) had been saying he was on the hunt for several big time headliners for the event; today, we found out he was successful, with iconic AltMusic bands Weezer, Jane's Addiction and Death Cab for Cutie confirmed as main stage anchors. Jane's is schedule for opening night, July 13, Weezer headlines July 14 and Death Cab will cap the fest off July 15. According to the press release, there will be plenty more performer announcements to come, with plans to feature around 100 acts total at the fest. Stay tuned — a full lineup is expected to be unveiled next month.
Securing the heavyweight headliners and announcing them enables Bunbury (being billed as "affordable, fun, tech savvy, and eco-friendly") to put tickets for the fest on sale. You can get them starting today through the Bunbury site here. One-day tickets are $46 and three-day passes are available for $93.
As Donabedian's work with MidPoint and Fountain Square would suggest, local music will also be a big part of Bunbury.
“The Bunbury Music Festival will feature the best of our local Indie bands with national and regional bands that fans may have seen at other great festivals and concert venues,” Donabedian said in a statement. “Fans should think of this as an authentic music experience.”
Bunbury's announcement is just the latest in a string of positive news concerning the live local music landscape of Greater Cincinnati, which seemed in potentially dire condition by the end of last year following the closing of Newport concert venue the Southgate House and other clubs.
Turns out the sky isn't falling. In fact, the future's so bright, I hope Bunbury has vendors on-site to sell shades.
Though Rock/Pop chartbusters Journey don't have the same frontman they did when ruling the airwaves in the ’70s/’80s, the band continues to draw big crowds whenever they tour. The band created some of the most well-known songs in modern music — "Don't Stop Believin" is the No. 1 iTunes download of all time, for example. Journey's summer tour for its 15th album, Eclipse, teams the band with fellow Arena Rock soldiers Night Ranger and Foreigner and comes to Riverbend this Wednesday. CityBeat had a chance to speak with the band’s drummer, Deen Castronovo, about touring, the new album, his love of KISS and some fond Coney Island experiences in Cincinnati.