WHAT SHOULD I BE DOING INSTEAD OF THIS?
 
 

Arch Enemy with Kreator and Huntress

Saturday • Bogart’s

0 Comments · Wednesday, November 19, 2014
Arch Enemy is the mad Swedish Metal concoction from ex-Carcass guitarist Michael Amott.  

Chicago Farmer with Shiny and The Spoon, Hickory Robot and The Tillers

Saturday • Southgate House Revival

0 Comments · Wednesday, November 19, 2014
Chi-town Folk singer/songwriter Cody Diekhoff is better known by his stage name, Chicago Farmer.   

Jamaican Queens with ADM

Friday • MOTR Pub

0 Comments · Wednesday, November 19, 2014
Ryan Spencer and Adam Pressley, doing a brisk business under the Jamaican Queens banner, are the poster children for making lemonade from lemons.  

Saintseneca with Swarming Branch and The Yugos

Wednesday • Southgate House Revival

0 Comments · Wednesday, November 19, 2014
One of the highlights of this past summer’s third iteration of the Bunbury Festival was the electrifying appearance of Saintseneca, a supremely talented Indie/Folk quintet from Columbus, Ohio.  

Jody Time

Cincinnati singer/songwriter Jody Stapleton’s first solo album finds him overcoming turmoil with tranquility

0 Comments · Wednesday, November 19, 2014
Jody Stapleton might not be drinking hot and cold running champagne from a solid gold faucet, but he’s certainly achieved a measure of critical success over the years.    

Buffalo Killers Launch ‘Fireball of Sulk’

Plus news on the Cincy Groove Music Festival, Bonesfest, Leggy and the Northside Record Fair

0 Comments · Wednesday, November 19, 2014
Cincinnati's Buffalo Killers issue a second excellent release in 2014, the new EP Fireball of Sulk. Plus, Cincy Groove Music Festival spotlights some of Cincy's top Americana acts, Bonesfest honors late local musician David Hebert, Leggy gets ready to go international and the Northside Record Fair returns.  
by Mike Breen 11.18.2014 10 days ago
Posted In: Live Music, Local Music at 10:45 AM | Permalink | Comments (0)
 
 
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Music Tonight: Joe Bonamassa, Shaggy and More

Modern Blues/Rock guitar hero Joe Bonamassa might not be a household name, but he has a gigantic fan base. Tonight, many of those fans will fill Music Hall to watch the six-string superstar do his thang. I just drove by Music Hall and he has multiple trucks and busses parked around back, one adorned with the motto, “Always on the Road,” a reference to how he has built such a big following.  Bonamassa does make records, though. His most recent is Different Shades of Blues. Here’s what CityBeat’s Brian Baker had to say about the LP in his preview of the show (click here for the full preview):Bonamassa’s latest album, Different Shades of Blue, is a full-tilt electric experience, kicking off with a brief taste of Jimi Hendrix’s “Hey Baby (New Rising Sun)” — Bonamassa was peeling off Hendrix licks when he was 7 — and roaring into incendiary originals like the scalding “Oh Beautiful,” the funky “Love Ain’t a Love Song,” the relentless “Never Give All Your Heart” and the sinewy title track.  Tonight’s show starts at 8 p.m. Ticket prices range from $79-$125.  • Danish Dance Pop trio New Politics headlines a triple bill of up-and-coming bands playing Bogart’s tonight. The group joins fellow on-the-verge acts Bad Suns and SomeKindaWonderful for the show. New Politics were in town this past summer to play the Bunbury Music Festival, alongside tourmates Paramore and Fall Out Boy. This fall the group teased new material with the release of the single “Everywhere I Go (Kings and Queens).” The group’s next album, Vikings, is slated for release next year. Click here for CityBeat’s full preview of the show. • Reggae crossover star Shaggy plays the Thompson House in Newport tonight. Local band Elementree Livity Project and veteran Columbus, Ohio, squad The Ark Band open the 7 p.m. show. Tickets are $17. Shaggy became a superstar in the ’90s/early ’00s with hits like “Boombastic,” “Angel” and “It Wasn’t Me,” a huge smash (you can still hear it on Pop radio to this day) from his six-times Platinum album, Hot Shot, from 2000. Shaggy has continued to release music and tour the world. Last year, Shaggy released Out of Many, One Music, an all-Reggae album that was produced by the legendary duo Sly Dunbar and Robbie Shakespeare.  Click here for more live music options tonight in Greater Cincinnati. 
 
 
by Mike Breen 11.17.2014 11 days ago
Posted In: Live Music, Local Music at 12:06 PM | Permalink | Comments (0)
 
 
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Music Tonight: Nils Frahm and Dawn of Midi

Sonic adventurer Nils Frahm performs tonight at the Contemporary Arts Center. Doors open at 7 p.m. and tickets are $20. The German-born composer is touring behind his most recent album, 2013’s Spaces, which was compiled from footage from various performances over the previous two years. His live presentation is something to behold, as Jason Gargano writes in his CityBeat preview of the show:Nils Frahm’s live performances are kind of hard to believe. He sits alone on stage, surrounded by multiple pianos and a few other gadgets. He moves back and forth between instruments, slowly building and altering the music as it unfolds, all of which is done without the use of loops or playbacks. It’s an impressive achievement, as Frahm’s sonic output is a whirl of intricately layered yet never fussy arrangements that bring to mind a meld of Steve Reich and Keith Jarrett. Opening the show is Brooklyn’s Dawn of Midi, an Avant Garde trio that combines elements of Jazz, Krautrock, Electronica and experimental Rock music and has also been drawing fawning critical raves. Radiolab host Jad Abumrad said of them, “I've seriously never seen anything like these guys.” Should be a fascinating night of music. Click here for more live music options tonight in Greater Cincinnati. 
 
 
by Mike Breen 11.14.2014 14 days ago
Posted In: Live Music, Local Music at 11:50 AM | Permalink | Comments (0)
 
 
chris forsyth & the solar motel band

Weekend Music: Chris Forsyth, Huun Huur Tu and More

Chris Forsyth & The Solar Motel Band bring their tour behind their debut studio album, the recently released Intensity Ghost, to The Comet in Northside tonight. Heart of Palm and Public Housing open the free 10 p.m. show.Forsyth, who co-founded the experimental group peeesseye in New York around the turn of the century, is an acclaimed guitarist known for his exploratory approach and compelling skills. He fell in love with the music of Television in high school and ultimately ended up taking lessons from that legendary band’s Richard Lloyd. You can hear the influence of Television particularly in his work with Solar Motel Band (which was formed based on the guitarist’s acclaimed Solar Motel album from last year). Many critics have described Forsyth’s most recent all-instrumental music as a cross between Television and The Grateful Dead; Forsyth (now based in Philly) discovered the Dead while immersed in the New York experimental music scene and was immediately drawn to it, so it’s a fair comparison. Overall, it’s very engaging, hypnotic stuff.   • Tonight and tomorrow sees the return of Ironfest, a huge two-night benefit concert in honor of late local music supporter and musician Iron Mike Davidson. This marks the fifth edition of the event since Davidson passed away in 2010.  Ironfest V, which continues to raise funds for Davidson’s family, takes over Newport’s Southgate House Revival both nights with a lineup stacked with local talent largely (but not entirely) from the worlds of Punk and Hard Rock. Friday’s lineup includes Mad Anthony, Martin Luther and the Kings, Kill City, Vampire Weekend at Bernie’s, Sweet Ray Laurel, Valley of the Sun, Lockland Brakes, Lohed, Subsets, Mala in Se, Black Signal and many more. Saturday at Ironfest, catch The Dopamines, Moonbow, Mudpies, We are Hex, Honeyspiders, Oxboard Drain, 500 Miles to Memphis, The Blue Rock Boys, Draculas, Ethicist, Cadaver Dogs and several others.  Click here for the full lineups.  Tickets each night are $5 in advance (available at ticketfly.com) or $10 at the door. Showtime is 7 p.m. both nights. • Tuvan throat singing string band Huun Huur Tu performs Saturday night at Parrish Auditorium on the Hamilton campus of Miami University. Derek Halsey explains the unique music in his preview of the show for this week’s CityBeat (read the full preview here). Tuvan throat singing describes the wild-sounding songs created by musicians in the southern Siberian and Mongolian Steppe region of Central Asia who, for want of a better explanation, use their throats as if they were a didgeridoo.  Not only does it sound cool — creating multiple notes at the same time using nothing but the human voice — but historically it was a way for humans to communicate over the vast plains in that part of the world, with different styles being created to represent different tribes. Saturday’s show starts at 7:30 p.m. Tickets are $25 (there are discount for seniors, students and “youth”) and can be purchased in advance here. • Cincinnati Blues crew The Whiskey Shambles host a release show at Over-the-Rhine’s The Drinkery in honor of their debut album, Loose Change for a Broken Man. The show is a benefit for the Save the Animals Foundation (where drummer Aaron Tyree volunteers). A $5 donation is requested at the door but you can be a jerk and not pay it; it’s technically a free show. JetLab opens things up at 9 p.m. and members of local choirs MUSE and Young Professionals Choral Collective are slated to make guest appearances with the Shambles. CityBeat’s Brian Baker spoke with the band about their origins and the new release for this week’s issue. Brian describes the album and band’s sound like this: While Loose Change exudes a contemporary vibe, the album bears the diverse hallmarks of the best ‘70s Blues Rock albums. Like Led Zeppelin, Cream and Free before them, The Whiskey Shambles channels first generation Blues subsets like Delta, Piedmont and Hill Country, combined with the members’ unique individual experiences to conjure an edgy, atmospheric vision of 21st century Blues. Click here to read the full feature story. Email newsletters for bands at ReverbNation.com • One of Cincinnati’s best bands, The Hiders, celebrate the release of their amazing new album Totem Saturday at Northside Tavern. The show is free. Singer/songwriter Ali Edwards (former bandmate of The Hiders’ frontman Billy Alletzhauser in Ruby Vileos) opens at 10 p.m. Click here for a full review of the great Totem. You can sample a few tracks here at The Hiders’ official site (click the “Melody” tab, then choose “Totem”). • Unique Cincinnati Americana group The Tadcasters have released a new EP and on Saturday they’re playing Stanley’s Pub in celebration. The show features two other Roots acts that have recently issued new material — La Grange, Texas, Folk/Rock/Roots act The Youngest (supporting the new album Feral Road) and Oliver Oak, an Indie Folk sextet from Columbus, Ohio (supporting its new Sleepless Wilds release). Showtime is 9 p.m. and there’s a small cover charge at the door. Here is “Chaingang” from The Tadcaster’s excellent new five-song EP: Free Electronic Press Kits template from ReverbNation.com • Sunday at the Southgate House Revival, friends of veteran local musician David Rhodes Brown are throwing a party in honor of his remarkable 50 years of playing music in the area. The multi-instrumentalist/singer/songwriter has been a part of numerous local acts in his half-century of service, coming into regional notoriety in the early ’80s with his long-running Rockabilly/Roots band The Warsaw Falcons (who will reunite and close out Sunday’s event) and going on to play with notable Greater Cincinnati groups like The StarDevils, Magnolia Mountain and numerous others. In 2010, Brown released his guest-laden solo album Browngrass & Wildflowers, and he’s played lap steel guitar with the popular Punk Pop/Roots Rock band 500 Miles to Memphis for the past several years. Many of Brown’s friends and current/former bandmates will perform some of his songs at the event, including Ryan Mallot, Mark Utley, Wilder, Todd Lipscomb, Gregory Burton, Elle Crash and Pike 27. More friends and bandmates (including CityBeat’s own Brian Baker and should-be Hamilton Country Commissioner Jim Tarbell) will also give Brown the “roast” treatment at the party.Click here for more details Showtime is 7 p.m. and admission is just $5.  Click here for more live music options this weekend and feel free to plug other shows in the comments. 
 
 
by Mike Breen 11.12.2014 16 days ago
Posted In: Local Music at 01:21 PM | Permalink | Comments (0)
 
 
speakerbeat

Twenty Years of Music in CityBeat

CityBeat’s veteran music writers talk writing about music (especially local music) for the past 20 years

In honor of CityBeat’s 20th anniversary, music editor Mike Breen and music section contributor Brian Baker (both of whom have been with the paper since the first issue) did an e-chat to discuss their experiences writing about music for the past two decades, from interview horror stories to the joys of covering Cincinnati musicians. Mike Breen: So 20 years. We were both working (or, rather, volunteering) at Everybody’s News when we found out EN’s editor John Fox was leaving to start a new paper. I remember when he first told me, when it was still hush hush, and asked me to come aboard as the music editor while I was still in college. He pulled me aside as we were leaving the EN building after a day of work, told me (in hushed tones) about his plans and said he’d like me to be the music editor. I was excited because I believed in John’s broader vision — providing a liberal/progressive voice for the city, celebrating the arts and striving to create quality journalism — but also because I was going to finally be paid for my work. Do you remember when you first heard word about CityBeat's formation?Brian Baker: Vividly. After John left EN, no one paid the slightest attention to me. I don't think they ran a single review of mine after his departure. At some point that following summer, John James, who'd been doing the Positively Yeah Yeah Yeah column, called me at my design day job and said John Fox wanted to have lunch to talk about something he's got planned. So the three of us met at this little seafood place on Reading Road and John (Fox) laid out the blueprint he had in mind for CityBeat. It sounded like a great idea, and my reaction was the same as yours. A byline and a check? Pinch me, I'm dreaming. But John offered a single caveat, and it would have rather lasting implications. He said, "I can't use you as a reviewer, I need you as a feature writer. Can you do that?" I said yes, and that really changed everything regarding my writing career. In a very tangible sense, everything that's happened to me over the past 20 years is due to John's insistence that I write features, and I owe him a great debt because of that one simple clause in our contract.MB: I remember months before the first issue of CityBeat I spent days putting together request letters to mail out to hundreds of record labels asking to be added to their mailing lists. Which is funny to think of now — we weren’t using email and, as opposed to receiving most review copies these days as downloads, we started getting dozens of CDs (and even cassettes at that point) a week. It’s crazy to me to think about doing research for reviews and stories in the very earliest days of CityBeat; I had a handful of “encyclopedias of music” books, but mostly we had to just rely on those press kit folders, which usually had a press release, a bio and then a stack of stapled-together photocopied reviews and interviews from other outlets. Now you can literally press a button and see every review and feature story ever written about an artist. It’s certainly easier now to be lazy.What do you think has changed the most about writing about music over the past 20 years?  BB: No question that the internet has made the research part of our jobs a whole lot easier. And today's connectivity makes it almost (although not quite entirely) impossible for publicists to duck our requests for material and interviews. But remember tearsheets? Sending physical proof of my features and reviews to labels and publicists used to be enormously time-consuming, especially after I started picking up outlets other than CityBeat. Now it's like everything else: email a link.Here's the thing about the new research paradigm. Back when my daughter was in 4th grade, her class and one other were doing a project on newspapers, where they split into groups, had editors and writers and each made their own version of a newspaper. Isabelle's teacher asked if I would be interested in talking to both classes about working on a real newspaper, which I happily agreed to do. The one point that I really tried to hammer home to the young journalistic minds in the group is that the internet has no editor, and you have to be incredibly careful with pulling what you think are facts from websites that may actually be offering little more than glorified opinions. In some ways, the internet has made everything incredibly easy, and in other ways, it has added in almost arcane levels of complexity that never existed before. As I am often fond of pointing out, computers didn't make everything better, they made everything different.MB: We’ll move on from computer-related stuff after this, but I want to vent about internet trolls so just humor me for a sec (haha). As I’m often fond of pointing out, the best thing about the internet is that everyone has a voice. And the worst thing about the internet is that everyone has a voice.In the earliest days, we had one computer in CityBeat’s office that had web access, so people had to share time. My earliest memory of interacting with a “reader” online was when some asshole kid sent me this scathing note about something I’d written about Goth or Industrial music. He was a dick to me, so I was a dick right back (some things never change!). He threatened to “tell my boss” the mean things I said to him, which may have been the first time I did a computer-related “LOL.” It’s weird to think of now, in a time when online trolls are just par for the course. It’s probably the thing I hate most about the job, and it was evident in my very first experience communicating with someone online about something I’d written. (I should give credit to my first “troll,” singer/songwriter/funnyman David Enright, who, since the internet was still developing and Facebook was many years away from giving voice to everyone’s vitriol, made hand-written fliers eviscerating me, CityBeat and CityBeat’s music section for being lame. He stapled them onto telephone poles all over the Clifton area. I wish I’d saved one.)We’d always talk about how we sort of wrote in a vacuum — we’d write stuff, throw it out there and assume people were reading it, but, outside of the rare “letter to the editor” or meeting people in the flesh, we had no idea how people were reacting to the content. Now we can kind of see in real time what people are reading (online) and get instant feedback if it hits the wrong or right chord. But people seem to mostly respond only when something pisses them off, which is fine, but it’s almost always rude and insulting, which is maddening. Anyway, you (wisely) stay off of social media, and I imagine you are spared a lot of this more annoying feedback. But over the years, what have your communications with both subjects and readers been like? Are they only mean to me or do you get some of that too? (For the record, most artists are very cool, even if a review isn’t especially glowing, and very few are anything but kind and polite when I meet them in person.)Also, and this is mostly for my own curiosity really, why do you avoid social media?BB: I think I've had maybe one or two weird trollish kind of events, and in both cases I tried to reframe my case for the sake of clarification and when that went nowhere, I just surrendered, which I'm guessing is probably the money shot for most of these boners, so you're welcome. The anonymity of the internet has made self-imagined giantkillers out of intellectual/emotional pipsqueaks, and it has become an occupational hazard for those of us who would dare offer an opinion to a great unwashed mass that now has the means to respond from the bliss of their ignorance at the click of a mouse. On the other hand, it has also given us an opportunity to have fascinating conversations with people who actually relish the thrill of debating divergent opinions without having to declare a winner. A fair trade, I suppose.My experience with the artists that I review and interview has always been, as you noted, very positive. And when I get introduced to people at shows, events, county fairs, beauty pageants and hog calling contests, and they realize I'm "that guy," they're always overwhelmingly nice, typically working up to a comment that goes, in general, "I've always loved your writing," and it's always nice to hear. A woman recently wrote in with some rather lavish praise about my online coverage of MidPoint, and her compliments were were well received by my always conflicted ego, although I was slightly bemused by this admission: "I've not read any previous articles by Mr. Baker..." So thanks for your kind words on my MidPoint reviewage, and if you're so inclined, there's 20 years of this stuff in the archive. Knock yourself out.As for my social media blackout, I'm neither Amish nor am I a crotchety old duffer who doesn't understand the platforms and just wants these damn kids to stay out of my internet yard. My avoidance of Facebook has become something of a cause celebre; I didn't join because I couldn't see the benefit weighed against the time involved in posting/monitoring/responding, and now I'm one of a dozen people connected to the modern world who is not on Facebook. At least part of the reason for the rest of it is the electronic array in the Bunker is just a couple of steps above the radio that the Professor made out of two palm fronds and a coconut shell on Gilligan's Island, and my phone is the Flintstones to everyone else's Jetsons. I have, in fact, grown rather weary of swearing at my 10-year-old Motorola flip phone (I know, I know), and I will soon be upgrading to something more befitting the second decade of the new millennium. And when that happens, I will probably be tweeting and whatnot with the rest of humanity. Until then, you kids stay the hell out of my internet yard.

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