by Mike Breen
84 days ago
Purity Ring, Ride, tUnE-yArDs, Sylvan Esso and more slated to appear at late September music festival
Cincinnati’s MidPoint Music Festival (owned and operated by CityBeat) recently announced that tickets for the late September festival were on sale, as well as a new date format (instead of Thursday-Saturday, 2015’s MPMF will take place Friday, Sept. 25-Sunday, Sept. 27). Now the first artists slated to appear at MPMF have been unveiled.
The first batch of MidPoint 2015 acts includes pioneering British Shoegaze band Ride, Canadian Electro Pop duo Purity Ring, Indie/Electronic up-and-comers Sylvan Esso, experimental artist tUnE-yArDs (aka Merrill Garbus) and diverse Indiana songwriter Strand of Oaks. The rest of the initial lineup announcement features Zola Jesus, Cathedrals, Matthew E. White, Pokey LaFarge, Moon Duo, Betty Who, K.Flay, Beach Slang, Sarah Jaffe, Ryley Walker and Truly. More artists (as well as specific schedule and venue info) will be announced in the coming weeks as the Over-the-Rhine/Downtown festival approaches. For the latest updates, tickets (a limited amount of early bird passes are still available) and more info, visit mpmf.com. Artists interested in showcase consideration can still apply through mpmf.com through May 17. Here's a sampling of some music clips from this round of MPMFers:
by Mike Breen
Besides sporting one of the best band names in recent memory, Dale Earnhardt Jr. Jr. also makes wildly endearing, monstrously melodic Indie/Electro Pop. Detroit’s Daniel Zott and Joshua Epstein started the project in 2009 as a home-recording venture, but a pair of EP releases the following year drew widespread attention, leading to a deal with Warner Bros. Records. The band released its debut full-length, It’s a Corporate World, in 2011 and followed it up last year with the acclaimed The Speed of Things. Paste named that album’s single, “Run,” one of the best songs of 2013 and also called them one of the Top 25 live acts around. At the start of fall, the band released a new single, “James Dean,” a great slice of chilled-out, slow-jam Pop. DEJJ plays Oakley’s 20th Century Theater tonight at 8 p.m. Tickets are $15.
• Chicago Indie Rock foursome Empires, a 2014’s MidPoint Music Festival favorite, return to Cincy tonight for a 10 p.m. show at The Drinkery in Over-the-Rhine. Great Cincinnati band Pop Goes the Evil opens.Here’s Ben Walpole’s preview from CityBeat’s official MPMF guide:
Empires enters MPMF 2014 building something close to its namesake this summer. It started with strong showings at Bonnaroo and the Hangout Music Festival, continued with a June appearance on a little program called the Late Show With David Letterman, followed by a well-received four-song EP – all building toward the band’s major-label debut, Orphan, released this week on Chop Shop/Island Records. The album was produced by John Congleton, who has worked with St. Vincent, The Black Angels and Explosions In The Sky, among others.
You’ll Dig It If You Dig: A more up-tempo The National; an artsier The Killers; a less dramatic The Horrors.
Here is the video for “How Does It Feel” from Empires’ most recent release, Orphan.
• Stellar Cincinnati singer/songwriter Kim Taylor (read CityBeat’s 2013 profile of Taylor here) headlines MOTR Pub in Over-the-Rhine tonight. Joining Taylor is Boston Indie/Americana Pop band The Grownup Noise. The band opens the free show at 10 p.m.
The Grownup Noise debuted in 2007 with its inaugural release, a widely acclaimed self-titled full-length. The band recently returned with its three-years-in-the-making third LP, The Problem with Living in the Moment, which came out late last month.
The Boston Herald has this to say about the new release:
Calling the Grownup Noise’s new work — “The Problem With Living in the Moment” — “an album” seems like a slight. Declaring the folk/rock blend a symphony is overkill, but the 11 tracks have such a orchestral sweep — swelling strings, rippling piano lines, a harmony of percussion arranged with meticulous detail. Let’s call it a suite. That seems to fit.
• “Foot-Stompin’ ” Country-tinged Rock duo Sundy Best, which originated in tiny Prestonburg, Ky., (and is now based in Lexington) plays Newport’s Southgate House Revival tonight. Showtime is 9 p.m. and tickets are $15.The band’s bio describes its sound as “music that re-imagines timeless classic rock of the ‘70s and ‘80s – think the Eagles and the smart, whiskey-voiced lyrics of Tom Petty and Bob Seger.” Along with critical acclaim from outlets like Rolling Stone and The New York Times, the band has found success on the road and satellite radio. and has even scored buzz via attention from the CMT television network. The duo is gearing up for the Dec. 2 release of its latest album, Salvation City.
Here’s Sundy Best’s video for “Lotta Love,” a track from the album Bring Up the Sun.
For more live music events in Greater Cincinnati tonight, click here.
by Mike Breen
Local music lovers have three music festivals to choose from this weekend
Those jonesing for more music fest goodness after last weekend’s spectacular MidPoint Music Festival have some great options this weekend. Bluegrass fans should be especially excited for a couple of them.
• The Bend in the River Art & Music Festival debuts this Saturday and Sunday in Lower Price Hill (2104 St. Michael St., next to The Sanctuary: Center for Education and the Arts). The festival/fundraiser runs 5-11 p.m. Saturday and noon-6 p.m. Sunday with the goal of bringing the community together (and showcasing it to others) and raising money for the Community Matters (cmcincy.org) and Education Matters (emcincy.org) organizations.
Along with food trucks and booths, beer from MadTree Brewing and Rhinegeist and a variety of vendors and artists showing their wares, local musical acts from a variety of genres will provide live music. Tim Caudill, Pike 27, Blue Caboose, Under New Order, The Part-Time Gentlemen and Ohio Knife perform Saturday, while Wild Carrot, Sibling Rivalry, Matthew Schneider and Phoenix (the local Rock cover band, not the internationally famous French Indie Pop group) play Sunday.
Admission to the Bend in the River Art & Music Festival is $7 or $10 for a two-day pass (Lower Price Hill residents receive a coupon to attend for free).
For more information on “Bend Fest” and the cause, visit facebook.com/bendfest and cmcincy.org.
• The DevouGrass Festival presents its first-ever event Saturday at the Devou Park Bandshell (1700 Montague Road, Covington). The family friendly event runs noon-dusk, and while there is no admission charge (even free parking is available throughout the park), organizers are asking for donations to the Children’s Home of Northern Kentucky.
Along with food trucks, other vendors, various children’s activities and performances by Circus Mojo and kids’ fave Joel the Singing Librarian, DevouGrass will also feature sets by area Roots/Bluegrass outfits Blue Caboose (noon), Ma Crow and the Lady Slippers (3 p.m.), Hickory Robot (3 p.m.) and the Downtown County Band (6 p.m.).
For complete festival info, visit devougrass.com.
• The Versailles State Park Bluegrass Festival returns with a new location and name: the Friendship Music Festival at the Old Mill Campground in Friendship, Ind. (facebook.com/oldmillcampground), which hosts the very popular Whispering Beard Folk Festival annually and is only about an hour drive southwest of Cincinnati. Despite moving from the state park and changing the moniker, the fest will continue to spotlight some of the region’s finest Bluegrass and Roots music practitioners.
On Saturday, the music starts at noon with a lineup featuring Mamadrones, Common Ground, Rural Route 2, Lee Sexton with John Haywood and Brett Ratliff, Whiskey Bent Valley Boys, The Tillers and Bradford Lee Folk & the Bluegrass Playboys. The music picks back up Sunday at 11 a.m. with Mt. Pleasant String Band, followed by James White & Deer Tick, Blue Mafia, Whipstitch Sallies, Rattlesnakin’ Daddies and Tony Holt and the Wildwood Valley Boys.
Weekend passes for the Friendship Music Festival are $10; one-day passes are $5. Camping is available. Visit friendshipmusicfestival.com for full details.
by Brian Baker
The last day of MidPoint is like a lot of endings in life; the end of the day, the end of the week, the end of the year, the end of a piece of cherry pie, the end of the line. This is the end, my only friend, the end.
And it had the chance to be the perfect end of perhaps the most perfect MidPoint in the festival's history, from the lineup to the weather to the experiences. And you know what, Aunt Em? I think it was. You were there, and you were there, and so were you. And so was I. I'm fairly sure of it.
I had a lot of possibilities circled on my MidPoint program for Saturday night, allowing for the chance to leave something I wasn't crazy about or merely the opportunity to see a couple of great things in the space of an hour. All of that happened and so much more. Saturday night was more sampler platter than focused attempt to see a set number of bands and it turned out pretty well. And for the first time since I began doing this daily wrap-up thing God knows how many years ago, I didn't take a single note all night as an inadvertent experiment in appreciation recall. Success or not? You be the judge.
As I was finding a parking space, I was listening to Little Steven's Underground Garage. The former Silvio Dante had been playing snippets of Groucho Marx bits from the Marx Brothers' movies, and finished with a hilarious Groucho interview about how the moustache came into existence. Moments later, as I was walking across Central Parkway on my way to the first show of the evening, I heard a horn honk and saw a massive arm wave from a Kia Sol. Of course, it was the semi-ubiquitous Jacob Heintz, the pope of MidPoint, giving me his blessing from his diminutive popemobile. Saturdays at MidPoint don't begin much better than that.
First up on my last day's dance card was Cincy’s The Ready Stance, who were slotted as the first show of the evening on the Midway stage. When the band began, I was still near the food court, and as the music cranked up, I would have sworn that the production staff was pumping some Marshall Crenshaw through the sound system for a level check. Within seconds, I realized this was no lost Crenshaw track but the Stance in full Pop jacket mode. The Stance churns out classic Pop/Rock informed by the '90s college Rock histories of guitarist/vocalist Wes Pence, bassist Randy Cheek and drummer Eric Moreton and the contemporary classicism of guitarist/vocalist Chase Johnston. As the foursome ran through a set that was evenly divided between tracks from their 2012 debut Damndest and new songs that may wind up on the band's in-the-works sophomore album, the Stance's numerous gifts were evident.
Pence and Johnston play with a two guitar/one mind synergy that crackles with intensity, Cheek lays down a massive groove that could be tracked from space and Moreton has the malleable sensitivity to control tempo and volume with a flick, a roll or an outburst. These guys are working stiffs on the old day job/night Rock treadmill, and the gears turn slowly in that world, so the new album may be on the far horizon. But as good as they were Saturday evening — Goose's Jason Arbenz pronounced them "Cincinnati's Jayhawks" and I wouldn't dispute it, although I'd toss in occasional nods to Mitch Easter and Ray Davies — the anticipation can only grow.
I bailed on the tail end of The Ready Stance's set to see OK Go down at beautiful Washington Park, and that may have been a mistake. I could have easily seen the entire Stance set and still made it in time for OK Go, as the band started close to 20 minutes late (It's a festival, boys … check the clock on your Jetson phones). When they finally hit the stage, the confetti cannons went off, they did two songs and then launched into … a question and answer session with the audience.
I did get to see "Writing on the Wall," a pretty good tune which is accompanied by one of the band's most inventive videos, and a track called "Obsession," also from their impending new album. But it was already time to hit the next thing on my slate, and as I walked out of Washington Park and heard frontman Damian Kulash taking an inordinate amount of time to teach the audience how to sing along with whatever was coming up next, I knew I'd bailed in the nick of time. I like OK Go, a lot, but this was a massive disappointment.
If I was feeling somewhat burned by OK No (cheap shot? Perhaps …), that feeling was almost immediately dissipated by Chicago trio Bailiff, who were just taking the Midway stage as I approached up 12th Street. The band had been recommended by my friend Paul Roberts, who had seen them at their last local appearance at MOTR, and he was lathered up by the prospect of seeing them again, so I added them to my list of possibles. Boy, was that the right thing to do.
Bailiff is not easy to pin down to a specific genre, but they play the living hell out of everything they do and they do just about everything. At one point, they were grinding out a Prog/Pop vibe that suggested the sound of King Crimson with Adrian Belew at the helm and Robert Fripp in a support capacity, a pretty neat trick considering Josh Siegel is the only guitarist in the band. Or they'll take a left turn into a tribal Jamaican/African reverie, or Art Rock bluster with the classicism of Talking Heads and the future shock of Radiohead. I kept wondering if there was a keyboardist behind the amp and out of my line of sight, but no such accompaniment was present, just the Siegel's sinewy guitar acrobatics, bassist Ren Matthew's Entwistle-meets-Pastorius lead runs and drummer Owen O'Malley's baby Bonham antics. The trio was drifting between their 2011 debut, Red Balloon, and their just released Remise, and it was all over much too soon for anyone's taste.
For reasons that will be revealed in the notes, I hung around the Midway for Alexander Giannascoli, aka Alex G, an impossibly young guitarist from Philadelphia with a pretty happening band around him. G's got a pretty good backstory, writing and recording at 12, posting songs online at 16, then lathering/rinsing/repeating into his current early 20s. He's got a wispy vocal delivery that rivals the late Elliott Smith for ephemeral atmospherics, and a Beck-meets-Robert-Pollard sense of Avant Pop, qualities that stand in clear and extremely appealing relief on his studio work, particularly his just released DSU. Unfortunately, a lot of those recorded subtleties and quirks are lost in the clatter and bash of their live presentation, and with the dynamic and emotional range smoothed and leavened, Alex G's largely mid-tempo odes don't offer much else to latch onto in the course of a set. This is most certainly not a case of good songs performed poorly, more like edgy songs with just a little too much of the edge sanded off. Alex G is obviously a considerable talent, and if I were to offer a bit of unsolicited advice to young G, it would be to either find a band that can recreate your basement lab concoctions or write for the live band you have, because they're talented players.
There was a considerable spike in the Midway energy level when Low Cut Connie took the stage. Typically just a duo featuring piano basher Adam Weiner and drummer/erstwhile guitarist Dan Finnemore, LCC tours with a full band complement and makes a mighty racket in the process. Weiner plays with the ferocity and brash confidence of early Jerry Lee Lewis at his most petulant — he even has a vestige of The Killer's untamed forelock of hair — and he sings with the raw animal magnetism of Iggy Pop. Weiner hops up on his bench, plays with his elbows and occasionally his ass and stands atop his piano threatening to do a strip tease as the band vamps on. And when Finnemore steps to the front of the stage with his guitar, the U.K. native truly embodies his Punk/Garage Rock roots and influences. Low Cut Connie's songs are dripping with snarky humor but they stop well short of being mere novelties by virtue of being great bloody songs. The band's Facebook posting on Saturday morning at 9:30 a.m. stated, "On our way to mess up Cincinnati real good … tonight at #mpmf … gonna rip it." Damned if they didn't.
Once again, I had to tear myself away from Low Cut Connie's compelling Midway spectacle in order to take in a little of Mr. Elevator and the Brain Hotel down at MOTR. When working on their blurb for the CityBeat preview issue, I was absolutely captivated by the Brain Hotel's hypnotic Psych/Pop soundtrack and dark Carnival of Souls demeanor, and it translates well into the band's live performance. There are hints of the '80s Paisley Underground in the Brain Hotel's sonic profile, particularly the helium-tinged vocals of the Three O'Clock's Michael Quercio, but it's the band's visceral impact that is most satisfying. It reminds me of the first time I saw The Doors on The Ed Sullivan Show in 1967 and was completely mesmerized, not by royal lizard/frontshaman Jim Morrison but by hunched-over keyboard alchemist Ray Manzarek. Any band that can consistently access that hallowed memory from the dusty archive of my brain's pre-hard drive file cabinet has my undying devotion.
I had initially earmarked the 11 p.m. spot for the Bonesetters at Arnold's, but my bum leg was starting to throb a bit and the prospect of walking to Arnold's and then back to MOTR for Kid Congo at midnight suddenly seemed painful and ill-advised. For the sake of saving my leg for possible use on Sunday (and sort of forever), I opted to keep my spot on the MOTR dance floor and hang around to check out Corners. Deirdre Kaye's preview noted that the L.A. trio had been working a Surf/Psych angle but that they'd recently shifted to a Post Punk direction. That became evident with their first song, a blazing two-guitar/bass/synth percussion screamer that brought my last two years of college back to life like an acid flashback with a Synth Punk soundtrack.
Corners bears all the marks of late '70s Electro Punk, somewhere in the vicinity of Joy Division and their post-Ian Curtis iteration New Order, with flecks of the Units, San Francisco's dour Synth Pop avatars, a splash of Gang of Four, a dash of Bauhaus and Red Lorry Yellow Lorry and maybe a trace of the Sisters of Mercy and Killing Joke. All of this will most assuredly be reflected on Corners imminent new album, Maxed Out on Distractions, which provided the bulk of the songs for the band's MidPoint set, which was dark, vibrant and enjoyable. (Ironic fun fact: the entire lineup at MOTR on Saturday night will appear at Corners' L.A. record release party in early October.)
At last, it was time for Kid Congo and the Pink Monkey Birds, the last band of the last night of MidPoint, and brothers and sisters, the Kid and his compatriots were more than up to the task. The former Gun Club/Cramps/Bad Seeds guitarist has been staging some form of the Pink Monkey Birds for over a decade and this iteration (guitarist/keyboardist Jesse Roberts, bassist Kiki Solis and drummer Ron Miller) might be the best batch yet. Peeling any loose paint from MOTR's walls was absolutely no trouble for the Kid as he scorched away on selections from his latest album with the PMB, Haunted Head, as well as a couple of songs from their upcoming single and a bunch of old favorites, including The Cramps' "Goo Goo Muck," The Gun Club's "She's Like Heroin to Me" and his own brilliant "Black Santa" and "Killer Diller."
The MOTR's dance floor was a boiling mass of rhythmically moving bodies, propelled by the Kid's blazing guitar runs and the Pink Monkey Birds' perpetual motion soundtrack. And since it was the band's last night of their current tour, they were not about to leave anything on the table, so after their standard club-clearing encore of "LSDC," the Kid and his Birds returned for one last brilliantly incendiary romp through The Gun Club's "For the Love of Ivy;" I fully expected lightning to shoot out of the Kid's fingers and eyes as he overloaded every internal and external circuit in the joint. I don't think he could have given us any more and I'm not entirely sure we could have taken it even if he had any more in him. As the Kid and the Birds bid us adieu, I had to believe that this might have been one of the most spectacular last nights of my personal MidPoint attendance history. It will be hard to top going forward, you can bet your sweet ass on that.
• Before the Ready Stance set, I ran into Ready Stance. The Midway seemed like a good place for that to happen. Wes Pence was first, busy with logistics on the phone, then in short order Randy Cheek and Chase Johnston. The Good Rockkeeping Seal of Approval King Slice was on hand for the madness, as were Paulie, Big Jim and Stufest (that's Stu to you and me). Also down in front for the Stance was Randy Campbell, formerly with Screaming Mimes and now with Faint Signal, who promised a new FS album coming shortly. I will keep you appraised of the situation. And once again, Eddy Mullet, my Class X comrade in Rock, sought to gain my attention by standing impossibly close to me as the Stance pulsed and pounded. Note to Eddy: For the record, 20 years ago, on a trip to Michigan, my best friend's wife, completely circuit fried on Xanax and Grey Goose, was dancing around their living room, grabbed my foot, shoved it between her legs and started hopping around in front of me like my shin was a stick pony from the '50s. With my foot in her cooch. Believe me, I'm not suggesting that you need to escalate to that DefCon level of weird, but it's safe to say that my threshold of the unusual is well above a bar you'd be willing to attempt to clear. And we're back. Accompanying Eddy was his most excellent daughter Jess, the smartest, most music savvy high school senior I know. Big things coming for that girl, I just know it.
• Down at Washington Park just before OK Go played, I crossed paths with Latha Mannava, former CityBeat worker bee and now more gainfully employed by F&W. Latha graciously introduced me to her friends by saying, "Whatever Brian recommends, that's what I go see." Ironically, I had written up the OK Go preview as a glowing endorsement, and Latha noted about two songs in, "These guys are doing nothing for me." Just to keep things in perspective, folks, the best hitters in baseball are only successful a third of the time, and that's a better percentage than some highly salaried and over-radared weathermen. I'm pretty sure my reputation is still pretty good with Latha.
• I spent a good deal of the evening on the Midway with Ready Stance drummer Eric Moreton and his wife Kristiana. Eric couldn't really go anywhere because someone in the band had lost his wristband (I don't want to assess blame but his initials are Wes Pence), so I just kind of hung around and had a lovely conversation with the two of them. I'm fairly certain I scared the living shit out of them with tales of my dysfunctional life and times and the epic tale of why I was on a self-imposed one beer limit throughout MidPoint (which I'm surprised wasn't tweeted about at some point during the weekend, with the suggestion, "Please shut up already, please"). In any event, it was nice, thanks for the company, and if either of you requires therapy after our compressed time together, I think my insurance will cover part of the cost before tying a cinder block to my waist and throwing me off the Big Mac Bridge.
• As I was headed into MOTR for the Brain Hotel experience, the wisdom of checking out this show was magnified a hundredfold with the appearance of the much-too-absent Matthew Fenton and his friends Kyle and Nicki (I'm guessing at her spelling, as I did with last year's Bunbury report). Matthew had also decided to stake out an early spot for Kid Congo, and a look at Corners' crazy Gary Panteresque T-shirt designs at the merch booth salted his decision. I love seeing shows with Matthew; they typically involve exchanges like this:
Matthew: Who is this again?
Brian: Mr. Elevator and the Brain Hotel.
M: Very Paisley Underground.
B: Remember the Three O'Clock?
B: They need a go-go cage.
M: With you in it?
B: I don't dance.
M: You've gotta do something.
B: (Frankestein-then-master voice) "Arrrrhh!" "No, Caezar!" "Fire, bad!"
M: Well, not that. You can't just sit there sucking your fingers.
B: May I go to the bathroom?
B: Thank you.
Pretty much endlessly. I love our time together. It's so pointless and perfect. And it usually has a pretty cool soundtrack.
• As Corners left the stage, Matthew's friend Ashley showed up with her friend Tone (again, guessing … it could be some Scandanavian derivation with no vowels and the symbol for magnesium as an accent, or it could be short for Tony), who was a super nice guy and a good hang for the Kid Congo show. Ashley mentioned that they were only there because of a bug in the MidPoint app that kept defaulting to Thursday; they thought they were coming to see Nikki Lane. But they both thoroughly enjoyed Kid Congo, so no harm no foul … but have I.T. check that app for next year, kids.
• Also taking in the raucous Garage/Punkabilly jailbreak that was Kid Congo and the Pink Monkey Birds: Paulie, Big Jim and Sir Dan of MidPointville, who I'm beginning to believe was assigned my case and has been keeping pretty close tabs on me. For the record, I'm fine, and you can count the silverware. It's all there. I spotted Wes Pence at the very end of the show but when I did a quick walk through MOTR, he was gone. Cest la vie — see you again soon, my friend.
• On my way back to the car, I ran into the always fabulous Mike Sarason, dressed to kill after a friend's wedding, along with his stunning date Margaret. Mike mentioned that he had moved to New York, and that the hiatused Pinstripes were likely done, news that I had gotten from Pinstripes drummer John Bertke Thursday night at MOTR. It was great to see Mike, he's a world class guy and I certainly hope he continues to pursue a musical path because he's amazing, but the reality of the end of one of my absolute favorite bands and a perpetual highlight at this very festival made for a rather bittersweet end to the last day of MidPoint.
• And so one of the most nearly perfect MidPoints in the event's history is in the book. As usual, there is much credit to be spread around for the success of an undertaking with this much complexity and requiring this much planning. First and foremost to Dan McCabe, who somehow manages, year after year, to play the most intricate game of chess with artists, agents, publicists, labels and venues and then come up with a strategy where it seems everyone wins.
• Obviously, MidPoint couldn't happen without the sturdy volunteer army that clockworks this potential mess every fall with very few glitches. This absolutely could not be done without your skill, patience and stamina.
• Of course, there's everyone at CityBeat who helps facilitate and promote MidPoint and who are its main boosters well before and well after the event, from Dan Bockrath. Danny Cross and (now it can be told, cyborg) Mike Breen, right on down through the entire staff. Sting told me, every little thing you do is magic.
• And obviously to all the bands who came from down the block, across the country and, in some cases, around the world to be here for the express purpose of entertaining us with their creative gifts. But most especially, thanks to everyone who attends MidPoint year in and year out, for showing up to experience the region's absolute best music crawl. This year’s may well have been the best populated Thursday night in the festival's history, and that couldn't happen without patrons who believe in the event and the promise of great music to be heard and that couldn't be done without all of the above. Funny how symbiosis works, isn't it? Thanks again to you all for a brilliant MidPoint 2014. Set your watches for late September 2015 … you'll know me, I'll be the thirsty one with a limp