Sarah Barthel and Josh Carter have known
each other since attending junior high together in upstate New York in
the late ’90s. Their friendship came in handy when, in 2007, Carter was
looking to start a new musical project, one in which Hip Hop beats could
commingle with atmospheric Indie Pop. Enter Phantogram.
Annie Clark, aka St. Vincent, is a
mysterious lady whose increasingly impressive musical output is informed
by her expressive guitar playing and catchy, intricately crafted songs.
St. Vincent’s just-released, self-titled fourth album is rife with
contradiction, syncopated rhythms and surreal flourishes, the work of an
artist who continues to expand her horizons.
Mick Cronin is seething. His University of Cincinnati Bearcats basketball team has just lost a hard-fought game to the Louisville Cardinals — on a last-second shot, no less — and he’s clearly in no mood to answer questions about it during a brief, tension-laced postgame press conference on Feb. 22.
Louis Langrée is well aware of the Cincinnati Symphony Orchestra's rich history. The CSO's freshly minted music director also knows part of that history includes the nurturing of contemporary composers and their often unconventional works. Enter MusicNOW, Bryce Dessner's 9-year-old festival of adventurous sounds. (Read our conversation with Dessner
Rust Belt towns across the upper Midwest
are on the verge of oblivion, their economies hallowed out by
technological innovation and globalization. Yet many are not ready to
give up on blue-collar bastions like Akron, Ohio, as David Giffels’ new
On Houndmouth’s full-length debut, 2013’s From the Hills Below the City,
you can tell the quartet is smitten with the majestic charm of
Americana masters The Band. “Penitentiary,” the calling-card tune that
triggered Internet buzz and eventually drew the interest of famed indie
label Rough Trade, could be mistaken for a Music from Big Pink