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by mbreen 06.01.2011
Posted In: Local Music, Reviews at 01:41 PM | Permalink | Comments (0)
 
 
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You, You're Awesome's First LP: Awesome

You, You’re Awesome, the opening-night main act for this year's MidPoint Indie Summer Series (this Friday on Fountain Square), has earned its way to headlining status by building an ever-increasing following with its crafty, magnetic Electronica, a mix of modern, energetic rhythms (thanks to Kevin Bayer’s live drums and Yusef Quotah’s smart programming), catchy, clever samples and an assortment of snyths and electronics that bridges early, pioneering usage and today’s more stylized approach.

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by Alex L. Weber 07.02.2009
Posted In: Local Music, Reviews at 02:13 PM | Permalink | Comments (0)
 
 
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Local CD Review: Moegly's 'It's Getting Hard to Find...'

Cincinnati singer-songwriter Moegly (a.k.a. Nicholas Moeggenberg) is one of those dreamy, skinny, intelligent boys who always go over well with the coffee shop crowd. His debut five-song (well, six with the hidden track) EP, It’s Getting Hard to Find Good People, is a smooth, gentle Indie Folk effort that sounds especially good in its jumpier moments.

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by Deirdre Kaye 11.20.2011
Posted In: Live Music, Reviews at 04:12 PM | Permalink | Comments (0)
 
 
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Review: City & Colour at Bogart's

Bogart’s was filled with love Saturday night. It ran up the wood paneled walls and across the ceiling before raining back down onto the crowd, again. It was a mutual adoration, too. Seeing City and Colour live is far better than listening to them in the privacy of your own home. They put on an awesome show. Cincinnati was just as thankful to stand witness to their energy, as the band was to play to a sold-out house of loving fans. Two events during the night made the band’s love for their fans shine through the speakers most.

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by Mike Breen 07.02.2013
Posted In: Live Music, Local Music, Reviews at 01:05 PM | Permalink | Comments (1)
 
 
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REVIEW: Animal Circles' 'Eva Lee'

Rootsy, surf-y Cincinnati trio releases debut album this Saturday

In the late ’70s, Punk Rock and New Wave were blossoming in New York City. But those genre tags were just a convenient labeling device, a catch-all that didn’t take into consideration all of the varied influences artists were bringing with them under that umbrella of Punk or New Wave. Bands would drag things like Rockabilly or Disco into their audio realm and craft their own new sound out of it, with barely any fans blinking an eye, let alone screaming, “That’s not Punk!”

Cincinnati trio Animal Circles bring that sort of kitchen-sink approach into their compositions, craftily blending together Surf Rock, Punk, Roots/Folk/Country sounds, Rockabilly and other styles into their own distinctive sonic smoothie. With the access people have to every type of music these days, it’s a wonder why every band doesn’t have Animal Circles’ sense of eclectic wonderment.

The band celebrates the release of its debut album, Eva Lee, Saturday at Northside Tavern. The free show also features Bloomington, Ind., rockers Thee Open Sex and local Black Sabbath tribute, Druid Piss.

Animal Circles’ variety and sense of dynamics make Eva Lee a thoroughly entertaining from start to finish. From the full-throttle burner “Brooks and Then Done,” with its speeding-out-of-control-train shuffle and rumbling Surf guitar licks (a consistent on the record) to the anxious, Jack-White-goes-to-the-beach vibe of “Squid Attack” to the vintage Country-flavored rocker “Southern Bell,” the band keeps your interest, not just with its unique ingredients, but also its strong sense of songwriting and melody.

The “Surfin’ Space Cowboy” approach has the potential to get old fast, so it’s to AC’s great credit that Eva Lee is such a consistently compelling listen. This is no novelty act.

Here is the Eva Lee track "Life on the Bonzai Pipeline."


Visit the band's Facebook page here for more info. Animal Circles' Reverbnation page is here.

 
 
by Jeff Roberson 04.30.2012
Posted In: Live Music, Festivals, Reviews at 02:48 PM | Permalink | Comments (1)
 
 
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MerleFest 2012: Jubal's Kin All Over the Place

Saturday, Apr 28: Jubal's Kin Festival Grounds

Saturday at MerleFest broke hard and cold. Our camping neighbors had an impromptu jam session at 3 a.m., which is to be expected when camping at a music festival geared towards people who not only love to watch and listen, but also play. It would have been one thing to hear the soft strains of a string jam or the gentle harmony of "Wildwood Flower," but some dude shouting the lyrics to "Whipping Post" over badly tuned guitars played really hard … not the thing mountain dreams are made from.

So I sat, at sun up, reading and drinking coffee, plotting revenge and the instead of taking my revenge, made the accused coffee, read some more and generally moved real slow. Crustymarhsmellowman. I did get to play a couple tunes with Pete McWhirter as he moved past to grab some coffee on his way to open his booth.

Then I moved real slow some more.

Really real slow.

After lunch, I decided to make an attempt to see some music.

I had already missed Jim Lauderdale at the Creekside Stage. To bad, I like some Jim Lauderdale and it would have been a nice wake up, but there you are. I saw on the schedule Jubal's Kin at the Dance Tent, looked at the clock and … damn missed that, too. But what ho! There they are on the schedule at the Americana Tent immediately following their Dance Tent set. It's a MerleFest miracle! I grabbed my camera and another cup of coffee and headed out.

Jubal's Kin, all nerves and bad house sound on Day 1, was all smooth and in good voice on Day 3. They filed the promise I thought I saw at the Cabin Stage on what always seems like an eternity ago and delivered a set full of vigor, with pristine sound delivered by the sound person. Their originals are fresh with sparse instrumentation and the kind of tight harmonies that only siblings can deliver. Never lyrically embarrassing with overplayed earnestness or too casual observation, they meld in with beautifully arranged and originally considered traditional tunes. There's "The Cuckoo," that ancient English broadside, rendered as if Billie Holiday had spent some time in the Eastern Kentucky mountains. "Buffalo Gal" was reconsidered as a pop tune with a well delivered encouragement to jump in on the chorus and sing along. Gaelanne's fiddle playing is absolutely gorgeous in a John Hartford/Matt Comb's kind of way, though leaning a bit heavier on the front of the beat as opposed to sitting in the pocket. And her banjo playing is just delicious. They added one more member for this set — "Uncle Joe" on pedal steel and fiddle. With "Baby Brother" on bass, Jubal's Kin appears to be a family band.

Satisfied my instincts were intact, I left the Americana Stage to catch some other music. I wondered into the Traditional Tent to catch some of mountain legend Red June. He was explaining to the audience what a jam session was. Have I mentioned the Traditional Tent smells like a barn? I don't think it's intentional, but the wet grass combined with an enclosed space has rendered an unfavorable impression. After the lesson on what a "jam" is, Red invited a local banjo player up to do a fiddle tune with the fiddle player who didn't bring a fiddle, but did bring a mandolin. Not to fear! You can play fiddle tunes on mandolin (or piano for that matter), so he requested the newest banjo player and the fiddle player with the mandolin decide on a tune they both knew and then play it. Five minutes of discussion and tuning followed. As I headed out of the tent I thought  "Just like a jam session," and went down to the Creekside Cabin to catch the rest of the Snyder Family Band and the following act, Sierra Hull and Highway 111.

The Snyder Family Band is a family Bluegrass band (no irony at MerleFest!). Like all Bluegrass bands they have a banjo, sing harmonies and play Bluegrass. Of course they play it really well. People love them. Standing ovation.

I waited around for Sierra Hull and Highway 111 to take the stage. Sierra Hull, 5-foot-nothing and former wiz kid master of the mandolin is now a promising songwriter and ingenue. I'm familiar with this script and am bored not two minutes into the first song. Sigh. I stop in the field in front of the Watson Stage to hear some of "Assembly of Dust." Young Nashville Country script. Know it. Boring. Moving on.

It's coming up on 3 p.m. and time to give my sister a break in her booth in the Heritage Tent. Nancy Roberson is a weaver based out of Knoxville, Tenn. She's been showing, selling and demonstrating at MerleFest for about as long as there has been a MerleFest. She heads out for her afternoon nap (apparently a hardwired Roberson DNA trait) and I pleasantly meet the mass of retail customers streaming by and wondering into her booth.

Nancy makes shawls. Well kind of. Not only does she design each warp for the loom, but on these particular pieces of clothing, she has design the shawl itself. It's twisted, sewn up the back, and pulled over your head like a loose fitting sweater. The front gathers in soft bunches and hangs across the chest. The ladies love them. Woven of soft cotton and rayon with the occasional silk woven in for effect, the main color of each shawl is broken up with a rhythm of competing and sometimes complimentary colors. People can't help but be drawn in by the colors and when the reach out and touch them, you always get an "Oooooo, these feel so nice and are so beautiful." If you don't, it's a replicant — ready your phasers.

When Nancy returned, I checked the schedule and cheese whiz on a cracker if Jubal's Kin wasn't playing in the barn-like Traditional Tent. Finally a chance to catch this band in more intimate surroundings, smell be damned. I headed over, got there early and claimed a seat near the front. In short order the band was on stage, laughing and calling out songs. They moved though a load of traditional tunes, all rendered in a sweet, imaginative way, like "Dinah Blow Your Horn," with added lyrics and a new verse melody. The Carter Family's "No Depression" was delivered in soul rendering pain. About midway through the set, a guitar string broke enabling some spontaneous double fiddle and dancing. While the guitar player stepped off stage, "Uncle Joe" and
Gaelanne tuned their fiddles and discussed which tune to play. In a matter of thirty seconds (this is no a jam session) launched into a Skillet Lickers number my dad probably danced to when he was their age. A friend jumped up on stage and launched into some spirited clogging. Not to be undone, "Baby Brother" put his bass down, peeled off his shoes and joined the Appalachian chorus line at the end of the stage with some well executed Buck Dancing.

Yes sir, these kids from Florida are the real shit. I've spent decades in front of poseurs, wannabees, shitty players and hopefuls. Using a foundation of traditional music obviously passed along from a family that loves this stuff at an early age, Jubal's Kin are making something very real, unique and personal that compels you to be a part.

This is why I come to MerleFest. Thanks, guys, for inviting me in.

Exhausted from a night of no sleep and a day of wandering and finding Jubal's Kin, I headed back to my book and coffee and called it a day.

 
 
by Deirdre Kaye 06.08.2012
Posted In: Live Music, Reviews at 02:17 PM | Permalink | Comments (0)
 
 
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Review: Dawes at Ballroom at the Taft

Oh, Cincinnatians! Wednesday night, when you filed into the Ballroom at the Taft (Theatre), loudly and drunkenly declaring your love for Dawes, I knew I’d never been more proud of you in all my life. (Except you, Guy Who Tried to Vomit Back into His Beer Can like a sorority girl MacGyver. Know your limits, dude.) You filled the basement with your singing and your cheers and, whether you saw it or not, left four California boys looking pretty giddy in your presence. While I still think some of you have some fairly bad taste in music, I now officially consider everyone in the room on Wednesday to be the new loves of my life.

That includes Dawes and Sara (and Sean) Watkins, too. They deserved every ounce of love that you gave them. This was not a massive and disconnected arena show; this was just some gig in Will Taft’s basement. But Dawes rocked out in a very big way. For every beer-induced bellow you made, a little more of the musicians' hearts seemed to shine through. There was no phoning it in, no signs of fatigue after a long year of touring (for Dawes) and no amateur hour when Sara Watkins started off the night. 

The only downfall was knowing that it would end and that, as good as Dawes’ albums are, they would forever pale in comparison to their live show. It was that good. It was the kind of concert where you walk out knowing you will never miss another one of their concerts. The kind of night that leads to going home and staring at their tour schedule and your bank account, trying to decide if you can make it to another show on this round of touring. They’re the kind of band that flings out so much energy in their set that, come 4 a.m., you’re still lying in bed, wide awake and humming “Fire Away.” 

In other words: Holy Shit. Dawes is amazing.

Which is surprising, honestly, since at first glimpse, no one in Dawes looks like a Rock star. Lead singer and guitar player, Taylor Goldsmith, with messy brown hair and just slightly too short pants, looks more like a philosophy professor straight out of the ‘70s. You know — the one who gets all the girls and invites the best students back to his apartment to get high. His brother, Griffin, has a massive mane of blonde curls and a face like every other one of your little brother’s friends. But he attacks the drums, has an awesome voice and great facial expressions.

Behind the crazy organ/piano set up is Tay Strathairn, working like a mad scientist and bouncing from one machine to the other. Meanwhile, Dawes' bassist, Wylie Gelber, comes complete with that trademark bass player “chill”-ness. He’s cool.

Basically, they’re just your average guys. They’d fit in just as easily in Cincinnati as they do in Los Angeles.  
On stage, though, they are far from average. They are amazing. They can turn a basement into a ballroom and a gig into a "show."

Vintage Rock hasn’t sounded so good since it was just Rock.

In total, the guys played over a dozen songs. Included on the set-list were their more popular hits, like “When My Times Comes” and “Time Spent in Los Angeles.” They also played a few new (and oh-so-awesome) songs that may or may not make it onto their new album.

I could gush for another 600 words, but instead I’ll end with this: Go see Dawes. Get in your car right now and drive to whatever city they’re playing next. Squeeze in close and wait to be awed. Wait for that moment, a couple songs in, when your cheeks hurt because you can’t stop smiling. Wait until Taylor Goldsmith dedicates “When My Time Comes” to the “first-timers” and then scream along. 

Go see Dawes and fall in love with good music.

 
 
by Phil Morehart 08.01.2011
Posted In: Live Music, Reviews at 02:10 AM | Permalink | Comments (0)
 
 
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Pitchfork 2011: Back in the Saddle Again

“I’m getting too old for this shit.”

The phrase was a mantra as I entered the Pitchfork Music Festival 2011, the three-day-long music festival sponsored by the taste-making music website which blasted into Chicago’s Union Park from July 15-17. The thought of crowds thousands deep filled with folks almost 20 years my junior, sweltering heat forecast for the weekend and three stages filled with many bands that I had never heard before transformed this generally laid-back, open-minded reporter into a crotchety curmudgeon.

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by Izzi Krombholz 06.14.2012
Posted In: Live Music, Reviews at 10:24 AM | Permalink | Comments (1)
 
 
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Review: The Black Belles at The Comet

The Comet was packed Tuesday night in anticipation of seeing Nashville band The Black Belles and the Belles didn’t disappoint.

These women sure have created an identity for themselves. At any point, you could spot them somewhere in The Comet; they were hard to miss with their long black hair, black clothes, black hats, pale skin and dark makeup. And the shtick of it all doesn’t seem forced for The Black Belles. Members of Jack White’s label, Third Man Records, the Black Belles opened their set with “Leave You With A Letter,” the opener from their debut self-titled album.

Although the band is normally a four-piece, they are touring as a three-piece, leaving the organist back home in Nashville. Between bassist Ruby Rogers' deadpan dead-on bass riffs and Shelby Lynne’s solid drumming, there’s room for lead singer/lead guitarist Olivia Jean to do as she pleases. Her voice comes off as somewhat of a growl, so perfect for their dark and witchy lyrics. And there was something about the drummer similar to Meg White, with her black hair flowing as she beat the crap out of her set.

The Black Belles seem to be somewhat of a cross between The Cramps and Wanda Jackson, with the occasional Jack White riff thrown in the mix. Olivia Jean announced that they would play “their only Country song” as they launched into “Honky Tonk Horror,” which was not really anything close to a Country song and probably the heaviest Rock song they played. Other numbers included “In a Cage,” “Howl At The Moon,” “What Can I Do?,” “Lies,” “Wishing Well,” and “The Wrong Door.”

The only problem with their set was that The Comet didn’t move the tables out of the way so it was an extremely awkward crowd to stand in and actually be able to see the band. This resulted in people standing on chairs to get a better glimpse of the dark beauties.

When I asked the band what they’d be doing after the show, they smiled and said they would be using a Ouija Board at the Masonic Temple at which they were staying. If you missed out on seeing the Black Belles, they’ll be back in Cincinnati as one of the headliners for Midpoint Music Festival this September!

 
 
by Mike Breen 05.02.2013
Posted In: Local Music, Live Music, Reviews at 11:08 AM | Permalink | Comments (0)
 
 
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Tracy Walker Releases First Album in 10 Years

Veteran Cincinnati singer/songwriter presents "listening party" tonight in Oakley

Tracy Walker has been such a consistently popular presence on the live music scene, it’s hard to believe the Cincinnati singer/songwriter hasn’t put out a new release in a decade. Ten years after her excellent sophomore album, All This Time, Walker finally entered the studio with super-producer Erwin Musper and, now, she is ready to start celebrating her third full-length release, Coetaneous Vibrations. The album is available for download now through Walker's site here (under the "Music" tab) or you can order a hard-copy CD from CD Baby here.

Walker has the kind of voice and writing talent that just feels natural, so recording her might seem like an easy job. But Musper, as a really good producer should, truly pulls a lot out of Walker, showing her to be an even more dynamic artist and performer. Previously, Walker’s recorded material was always hard to describe, with elements of Folk, Pop, Soul and Rock dancing together for her own singular style.

But on Vibrations, Musper fleshes out many of the tracks with a classic Soul/R&B vibe, enlisting some top local players to create the crisp musical backdrop to Walker’s spine-chilling vocals and songs (a handful of which were re-recordings from prior releases).

Opening track “All My Life” has the vintage punch of seminal Soul artists from the ’60s and ’70s (and many of today’s revivalists), complete with a punctuating horn section, while the ballad “Blue” drips with emotion over a slow-burning Blues groove and tracks like “Hard Way” and “Brand New Life” are more upbeat and Pop/Rock-like, suitable for radio airplay.

Tonight at 6 p.m., Walker will host an album release/listening party at The Art of Entertaining (2019 Madison Ave., Oakley). The event will include snacks, wine, beer and live acoustic music from Walker. Tickets are $30. Seating is limited; for reservations, call 513-871-5170. You can also catch Walker live around town in the coming weeks. Visit tracywalker.com for local dates and more info on Coetaneous Vibrations.

Here's the new album's lead-off track, "All My Life," which appeared in an earlier form on Walker's 1998 solo debut, Naked:


 
 
by Mike Breen 10.22.2013
Posted In: Local Music, Music Commentary, Reviews at 04:02 PM | Permalink | Comments (0)
 
 
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REVIEW: Dark Colour - 'Prisoner'

In Electronic music, the punkish encouragement to “just jump in and see what happens,” regardless of proficiency, resulted in the creation of Krautrock, Hip Hop, Synthpop, New Wave and many other styles. Some of the top innovators of those genres were driven by a “naïvite” that added a more “human” element (going against the common critique that all Electronic music is cold and robotic). Today, with the hugely increased access to affordable tools to create Electronic music, that more exploratory approach is back and thriving, resulting in innumerable subgenres and an unending stream of adventurous bedroom artists.

Cincinnati’s Randall Rigdon, Jr., is one of those bedroom maestros. Using the name Dark Colour (fleshed out with other musicians in a live setting), Rigdon doesn’t let all of those subgenres distract him, instead embracing a variety of Electro styles and putting them together in his own personalized way. The results are delectable.

Dark Colour’s recent full-length debut, Prisoner, is reminiscent of hearing things like New Order, LCD Soundsystem, MGMT or Neon Indian for the first time. Rigdon has solid writing and lyrical skills, but it’s the multi-hued textures, kaleidoscopic array of synth sounds, endearing beats and a shifting ambiance (showcasing his deft ability to create distinct moods) that set Dark Colour apart from the EDM pack.

Prisoner (which follows 2011's debut EP, Memories, a release that was pulled from shelves after a dispute over an uncleared sample) ranges from Ambient dreamscapes and artsy Indie Electronica to funky Chillwave and bubbling Electro Pop, with many tracks containing multiple elements of each. Frequently slathered with a trippy glaze of effects, Rigdon’s melodies are most often delivered in either a hushed, spectral murmur or a whirling falsetto, while the eclectic, always-danceable beats have a surprisingly live feel, even when resembling something conjured from an ancient drum machine. There’s also a refreshing lack of current dancefloor trends; not that it would kill the album, but dropping in a grinding Dubstep groove, for example, would totally break its often hypnotic spell.

On Prisoner, Dark Colour makes digital music with an analog heart, instantly catchy Electro Art Pop that never panders and frequently surprises.

Learn more about Dark Colour here and give a listen to Prisoner below.

 
 

 

 

 
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