About halfway through “Deathcamp,” the lead track on Tyler, the Creator’s new album Cherry Bomb,
the dense, hard-charging music takes a breather so the controversial
California-bred rapper can declare, “I don’t like to follow the
rules/And that’s just who I am/I hope you understand.” No doubt many don’t understand, which
seems to suit Tyler just fine
The hit Disney show Hannah Montana not only launched Miley Cyrus' career, but it was also
tangentially responsible for Metro Station, an energetic Pop/Rock outfit
that hit enviable heights in spite of significant internal tensions.
During Hannah Montana’s first season, Trace Cyrus and Mason
Musso, brothers of the show’s co-stars, met on set and formed Metro
Station based on their mutual musical interests.
Cincinnati Zoo reschedules three concerts after rain caused cancellations in April
Every April, the Cincinnati Zoo presents an every-Thursday concert series called “Tunes & Blooms,” which showcases some of the finest local bands in Greater Cincinnati (as well as the Zoo’s Botanical Garden in full bloom). But for this year’s series, Mother Nature had different plans, as April showers brought cancelled concerts on April 2, 9 and 16.
The free concerts have been rescheduled and begin this evening (Wednesday) with local Folk/Americana favorites Hickory Robot and The Tillers. The next rescheduled date is tomorrow (Thursday) and features another pair of Folk dynamos — Jake Speed and the Freddies and Shiny and the Spoon. The final rescheduled show takes place May 13 with the fantastic Buffalo Wabs & the Price Hill Hustle and Honey & Houston. The music begins at 6 p.m. all three evenings and runs until 8:30 p.m. There is no admission charge to get into the zoo after 5 p.m. (there is a $9 fee is you’d like to park in the zoo’s parking lot). Click here for more info.
When Wilco plays Cincinnati this week,
the opening act will be a singer/songwriter and guitarist whose
textured, ethereal, slightly dazed and bluesy Rock sound is earning him
comparisons to The War on Drugs and Kurt Vile. He is Steve Gunn.
If you’re a Donkeys fan, you know the San
Diego quartet from its decade-plus history, three exemplary albums on
Dead Oceans and 2014 debut with new label Easy Sound Recording Co., Ride the Black Wave.
You know they haven’t had a lineup change since forming in 2004 and
that they’ve been nominated twice (winning once) for Best Rock Band at
the San Diego Music Awards.
Marc Cohn isn’t particularly prolific,
but when he lays hands on a piano or guitar, something extraordinary
happens. Witness the ubiquitous platinum success of “Walking in Memphis”
from Cohn’s eponymous 1991 debut, which earned him a Best New Artist
Grammy. Neither 1993’s The Rainy Season nor 1998’s Burning the Daze matched his debut’s immediacy, and it was nearly eight years before Cohn wrote new original music.
There is an odd circularity in the work
of Kevin Barnes. Back in 2005, of Montreal’s amazingly prolific and
profoundly talented frontman was pursuing an Electronic/AfroBeat
direction on The Sunlandic Twins and celebrating the arrival of
his daughter Alabee. Ten years and five albums later, Alabee is a
10-year-old tween and Barnes and his wife Nina are navigating the stormy
seas of separation and divorce.
Chicago has given us many things over the
years. Awesome pizza. Billy Corgan. The Cubs, who will always do worse
than the Reds. And each winter a chance to look at the weather report
and not feel quite as downtrodden about “all the snow” that we get. Chicago’s greatest gift to the world, however, came in 1994 with the birth of a little band called Wilco.
The idea behind Jayme Stone’s all-star
group, Lomax Project, is so brilliant it leads one to wonder why no one
has thought of it before. Alan Lomax was the legendary song-catcher and
in-the-field recorder who went out into rural areas, wrong sides of the
tracks and the outskirts of America in the ’30s, ’40s and ’50s to
collect obscure ethnic Folk music. Lomax took along a portable
reel-to-reel tape recorder and captured the music of many unknown
artists who would go on to be recognized by the larger population.
Japanese music culture has always been
adept at absorbing Western musical forms and translating them into
familiar but distinctly new concepts. Shonen Knife may have begun as a
de facto Ramones tribute, but the band has grown into a unique sonic
entity that embraces all genres and reconfigures them into its own
singular sound. Given that, what can we make of Peelander-Z?