This week’s CityBeat features the announcement of the first several weeks’ worth of headliners for PNC’s MidPoint Indie Summer Series. The free, every-Friday concert series on Fountain Square again features an interesting array of out-of-town artists and Cincinnati music’s finest. The concerts begin June 3 with local Electronica duo You, You’re Awesome headlining a typically eclectic night of provocative sounds. It’s good prep for 2011’s MidPoint Music Festival this fall. The Indie Summer kick-off is your first chance to get MidPoint ’11 tickets — MPMFers can buy three-day passes at a discounted rate while they last at the events this summer.
Below, take a look/listen to the performers announced so far.
Mesmerizing local singer/songwriter Kim Taylor – who performed recently at the CMJ Music Festival in New York City — has a new five-song EP called The Greatest Story …, which is available now for about four bucks if you download it on her Web site. (In fact, all of Kim’s music is only available digitally as of now; CDs are only being sold at shows, while a vinyl version of her I Feel Like a Fading Light is due out in December.) The set will hit the iTunes store in the near future.
If someone told you that two of the biggest musical icons of the 20th century had collaborated on an album that was never released and has never been mentioned in the big history book of popular music, what would you think? Sketchy, right? What if you read the same thing on the Internet? Needless to say, the skepticism increases manifold. So is the case with some recent murmurings on the Web about a “long lost” collaboration between Marvin Gaye and Pink Floyd.
Last night, Fox 19's website reported that veteran local musician, talent booker and event promoter Johnny Schott passed away unexpectedly on Wednesday morning in his home in Tennessee.
Greg Dulli needs little introduction in these parts, but for those who are somehow not familiar, the now-46-year-old Hamilton native came up as frontman for The Afghan Whigs in late 1980s and exploded out of the local scene via a string of visceral, dark-hued albums (the best of which, 1993's Gentlemen, continues to grow in stature) that were equally influenced by Husker Du, Prince and moody, noir-infested crime movies. Dulli's post-Whigs output has been just as compelling, including releases by The Twilight Singers, his main project. The band performs Monday at Newport’s Southgate House.
In our local music column Spill It from the CityBeat issue out today, we announced the lineup for this year’s much anticipated MusicNOW festival, which includes a closing-night headlining appearance by Cincinnati-bred Indie music stars The National on May 15.
National guitarist Bryce Dessner is the brains behind MusicNOW, which began in 2006 and has featured unique performances by some of Indie music’s biggest names, as well as up-and-comers and those on the edgier fringe of modern Classical/Chamber music. Dessner’s Avant Chamber group Clogs has played the fest in the past, but this is The National’s first time at MusicNOW.
There is no mystery in music anymore.
I‘ve been trying to find a scapegoat to blame for this. Most notably, I’d like to blame KISS for taking off their make-up in ’83, unveiling the Demon and Star Child as just a couple of goofy-looking New Yorkers dressed up like extras from a Dokken video.
But as much as I’d love to blame KISS for taking the mystery out of music (Gene Simmons ruins most things so it was a good guess), the problem really lies with the internet and the digital age we are consumed by. (Thanks, Al Gore!) When was the last time you went on Google and couldn’t find what you were looking for? With a few easy clicks, you can find answers to some of life’s most important questions like, "Who was the second guy from Wham?" (Andrew Ridgeley) and was Liam Neeson actually on an episode of Miami Vice (yes, he was).
But even with the constant flow of status updates, tweets and information that has caught Americans in this perpetual technology loop, over the last five months there has been one artist that has captured some sense of anonymity in the music industry. That artist is Captain Murphy.
For those of you who don’t know who Captain Murphy is, don’t worry. No one does.
When Captain Murphy burst onto the scene with his impressive verse on Flying Lotus’ Adult Swim single, “Between Friends," the music media and Hip Hop heads alike immediately got a raging hard-on for the guy. His use of voice modulation and his style, which carries the complexities of MF DOOM’s flow with just a hint of the silly attitude of Tyler, The Creator, caused a sea of speculation about his identity and spawned more gossip than when Honey Boo Boo Child gets pregnant before her My Super Sweet 16 special.
After the release of “Between Friends,” Murphy has intermittently dropped singles over the last couple months, turning the internet into his own personal Gotham City (Murphy playing the part of the Dark Knight) and leaving every music journalist and tons of Hip Hop fans trying to figure out who the hell is playing Bruce Wayne.
Now, Captain Murphy has dropped his mix tape, Duality, which takes the listener on a 35-minute Psychedelic Hip Hop excursion into the mind of a cult leader and has only heightened the anxiety attacks over his true identity.
But what’s the point?
Can we, journalist and fans, just relish in the secrecy of this up and coming artist without freaking the fuck out about it? I know that our job as journalists is to report information that people want/need to know, but I didn’t think obsessing over people who just want to make music and making their lives more difficult was in the job description.
The perfect example is last year’s music industry enigma, Earl Sweatshirt.
When the music media received news that Earl Sweatshirt, the most mysterious figure of the then-exploding Odd Future gang, was nowhere to be found, they began foaming at the mouth. The “Free Earl” campaign and the lack of knowledge of his whereabouts were covered by everyone from bottom feeder music blogs to The New York Times. But while Earl wasn’t even in the country (he was allegedly located at a troubled boy’s camp in Samoa), America was getting their rocks off on glorifying him as Hip Hop’s second coming and propelling him into stardom and fame before he was even old enough to vote.
Sweatshirt tackles this invasion of privacy on his latest single “Chum,” when he spits, “Tolerance for boundaries, I know you happy now/Craven and these Complex fuck niggas done track me down/Just to be the guys that did it, like I like attention/Not the type where niggas trying to get a raise at my expense/Supposed to be grateful, right, like thanks so much you made my life/Harder and the ties between my mom and I strained and tightened/Even more than they were before all of this shit/Been back a week and I already feel like calling it quits.”
It’s a shame that our insatiable infatuation with artists has been pushed to the point where we force young creators like Sweatshirt (and, to an extent, the seemingly fragile mainstream crossover star Frank Ocean) to want to give up on their budding careers, but what if the consequences were more severe? Sure, this constant media intrusion could push Earl to quit rapping and that would be a terrible loss of potential in the Rap game. But what if instead of quitting, this media malpractice pushed him to the bottle and drugs like Amy Winehouse or even a shotgun like Kurt Cobain?
On a smaller scale, it’s the same kind of information-driven OCD that makes people sign off of Facebook only to almost simultaneously check the Facebook app on their phones. Many of us now have an endless need to be in the know.
But in more serious cases, it’s the kind of obsessive behavior that caused fans like Michael Abram to break into George Harrison’s house and stab him in ’99, caused Mark Chapman to shoot John Lennon in Manhattan in ’80 or Nathan Gale to shoot “Dimebag” Darrell Abbott in that Columbus nightclub in ’04.
We have an opportunity to change this "gotta know now!" behavior with Captain Murphy. Here’s my proposal — every copy of Captain Murphy’s first album should include a prescription for Xanax and Prozac (maybe even a spliff or two for our friends out in Colorado). Maybe that would allow everyone to enjoy the music without having a mental breakdown about who is making it.
In the end, if Murphy doesn’t want us to know his identity, then we don’t need to know his identity. So unless the Captain is 2Pac revitalizing his career under this new alias, let’s all just keep calm and enjoy the mystery. While it lasts.
UPDATE: Aaaaand that didn't last too long. No more mysteries! Captain Murphy was revealed to be Flying Lotus (details here).
The Hank Williams family Country music legacy is fairly remarkable when you consider how three generations of men have built up audiences that would likely stand aghast at one another. Hank Williams, Sr., is a founding father of Country and Honky Tonk Music as we know it and, rightfully so, a certified historical figure, institutionally and critically bestowed with all the respect due our revered cultural heroes by the Time-Life crowd.
In September of last year, The Baseball Project — an all-star band featuring Peter Buck (R.E.M.), Scott McCaughey (Young Fresh Fellows), Steve Wynn (Dream Syndicate) and Wynn’s wife, drummer Linda Pitmon — publicly debuted its song “Pete Rose Way” in Greater Cincinnati when it performed at the Southgate House. The band (which, as the name suggests, explores America’s national pastime in its lyrics) had recorded the song a week before the Southgate show and it will finally be released a part of the Volume 2: High and Inside album, scheduled for a March 1 release. But you can hear "Pete Rose Way" right now by clicking the play button below.