0 Comments · Wednesday, November 18, 2015
What do Caribou, of Montreal, Born
Ruffians, Eleanor Friedberger and Yeasayer have in common? They’ve all collaborated with Ahmed
Gallab —better known as Sinkane — to add a unique spice to their musical
0 Comments · Wednesday, November 18, 2015
If there’s one phrase that Will
Kimbrough’s family and friends don’t use in conversation with the
renowned Roots/Rock singer/songwriter, it would have to be, “When you
have some spare time..."
0 Comments · Wednesday, November 18, 2015
Berry Gordy may not have envisioned the
intersection of Rock, Blues and Soul when he was drafting the Motown
blueprint, but there can be little doubt that, when done right, that
particular genre hybrid is among the most powerful forces in the musical
by Nick Grever
12 days ago
A local-music community favorite, Ironfest VI offers another two nights packed with great, diverse music
Greater Cincinnati is now home to several major music events. Summer festivals like Bunbury and Midpoint capture a lot of the public interest and fill downtown for days at a time. But for fans like me who prefer their music with a bit more bite, there’s really only one fest in the area that matters — Ironfest. The two-day event, now in its sixth year, is held at Newport’s Southgate House Revival to honor the late “Iron” Mike Davidson, a local musician whose passing inspired the festival’s creation. I may have gone to a Midpoint show or two this year (Jameson makes memories hazy), Ironfest is the one event that I truly look forward.
The founder of Ironfest, John Gerhardt, created the show to raise money for Davidson’s family and he is steadfast in his goal. Tickets for the event are $5 online or $10 at the door for each night, and I suspect that price will stay the same for years to come. With over 50 bands on the bill, the price-to-band ratio obviously can’t be beat, and that’s just how Gerhardt likes it. The low-price mantra even carries over to the merch. An Ironfest shirt will set you back $5 and items like hoodies and hats are also reasonably priced. Even the pizza that’s brought in to help soak up the booze is free, with only a donation requested.
While the fundraising tradition that built Ironfest continues, the festival itself has grown immensely over the last few years. Gerhardt works all year to bring together local and regional talent to fill the house’s three stages, and this year’s lineup was the most eclectic and vast group of bands fans have seen yet. Groups came from Cleveland, Dayton, Chicago and Boston to be a part of this year’s Ironfest, and the genre mix was as wild as ever.
The majority of the bands fell into the heavier genres of Rock & Roll, Punk or Metal, but this year saw Industrial music (Chicago’s Hide), an experimental string music (Kate Wakefield) and Electronica (Black Signal) represented, amongst many other styles. To say that a fest has a little bit of everything is an advertising trope nowadays, but having this kind of diversity in one house over a two-day period is pretty damn impressive. Especially when walking from one room to the other provided massive swings in sound each time you transitioned. The lineup was spread out in such a way that if you truly wanted to see every band (a daunting task to be sure), you could give each group at least some of your time.
As music journalist, Ironfest makes my job easy. With so many great bands onstage at once, there’s bound to be some that I haven’t heard or a young band who’s just starting out. Buying several CDs in one night may hurt my wallet, but my ears couldn’t be happier. Thanks Hide, Good English, Tiger Sex and The Skulx for all making one hell of a first impression on a grizzled veteran (which is a fancy way of saying the drunk guy whose neck is sore from head-banging this weekend).
That isn’t to say that returning bands were slouches this weekend either. There were a ton of amazing performances, but a few are worth a special mention. Valley of the Sun played its first show in months in Southgate House’s Lounge and promptly blew eardrums with a six-song set that featured three new tracks from the band’s upcoming release. The Honeyspiders released its highly-anticipated debut album in conjunction with their Ironfest appearance and offered something special for fans of the Harrison brothers’ previous band when they were joined onstage by former Banderas guitarist Jesse Ramsey (in town playing with his new band, Punching Moses) to perform an old Banderas track to round out the set.
I would be remiss if I didn’t mention the dirty elephant in the room. With Mainstay Rock Bar’s closing late last year, Cincinnati filth mongers Dandelion Death no longer had a place to hold its yearly show. So when the group were added to this year’s Ironfest lineup, there’s was much rejoicing. When the band took the stage to close out Saturday night in the Sanctuary, the room was full of people who had no idea what they were in for. But those of us who did got to see a Dandelion Death at its most ridiculous, with a stage large enough for the band and its female companions to actually fit on. While Mainstay’s center stage pole was sorely missed, it didn’t hinder any of the ridiculous Metal that only Dandelion Death can get away with.
While Ironfest may be built on a very Metal foundation, for many, it is about more than the music — it’s about community. For anyone plugged into Cincinnati’s Rock scene, Ironfest is akin to a high-school reunion, except everyone’s drunk and people are actually having fun. The sheer number of musicians in the house leads to tons of Rock & Roll run-ins with longtime friends. At times, it’s hard to go outside for a smoke or grab a drink at the bar because walking the 20 feet to either location involves stopping, saying hi to an old friend and catching up. By now, my friends know to just abandon me if I stop on the way to a destination; I’ll catch up eventually.
Ironfest started as a way for one friend to honor the life and memory of a fallen buddy and, at its core, that is what Ironfest still is. But in the past six years, Ironfest has grown into a massive beast that many music fans eagerly look forward to year after year. Those that knew “Iron” Mike speak of the man with nothing but the upmost respect and fondness. His passing truly rocked those who knew him and Ironfest’s origination becomes obvious if you hear just one of his friends speak about his legacy. While I never knew the man, every year I thank him, because his memory spawns an amazing event full of amazing bands and people, and personally brings me so much joy. So cheers to you, Mike; I may not have known you, but I really wish that I did.
by Mike Breen
15 days ago
Posted In: CEAs
, Local Music
at 01:24 PM | Permalink
Time to nominate your favorite musicians for 19th-annual Cincinnati Entertainment Awards
The Cincinnati Entertainment Awards, returning for its 19th year of honoring original local music-makers, is now accepting nominations from area music lovers. Click here for the online ballot and then write in the local music acts you feel had an especially great 2015 and deserve a CEA nomination. (More details are available on the ballot page.The annual celebration of Greater Cincinnati music opened up the nomination process to the public last year for the first time. The public nominations are compiled and top vote-getters make the “long list,” which is presented to the CEA nominating committee. The committee — a group of knowledgeable aficionados who work with local musicians on a regular basis (including radio hosts, writers, booking agents and beyond) — will consider the public input and come up with the “short list” of nominees in the various genre categories, as well as for awards like “New Artist of the Year” (for an act that either formed in the past year or just experienced its real breakthrough since November 2014), “Album of the Year” (for a release put out between November of last year and now) and “Artist of the Year.” (Those three categories are the critical achievement awards; the final winners are decided by the committee’s votes.) The whittled-down nominees make the final ballot, which will be available online in mid-December. The New Artist of the Year nominees (and other new acts) will be showcased at the Best New Bands concert in mid-January. The always-fun CEA ceremony (where the winners are announced and select nominees perform) is slated for Jan. 31. Artists who have graced the CEA stage over the past 19 years include Bootsy Collins, The Afghan Whigs, The Heartless Bastards, Wussy, Foxy Shazam, Over the Rhine and numerous others. Stay tuned for show details. Go here to read about last year's CEA show and here for content about some of the previous years.CityBeat's Brian Baker also wrote a nice piece last year about putting the CEAs (and awards in general) in perspective.The public nomination ballot is open until Nov. 30.
0 Comments · Wednesday, November 11, 2015
When it came to planning a concert that
featured traditional and new Appalachian sounds, MUSE, Cincinnati’s
Women’s Choir, turned to the legendary Ma Crow and the Lady Slippers,
one of the few all-women Bluegrass bands in the region — or anywhere
by Brian Baker
16 days ago
After over 25 years of loving the Ass Ponys, CityBeat’s Brian Baker reflects on seeing the Cincy greats live for the very first time
The wholly unexpected announcement of a pair of reunion shows by one of Cincinnati’s greatest bands, Ass Ponys, inspired a sense of excitement within me that was matched only by the birth of my two children, the legal end of my first marriage and meeting the woman who convinced me to sign up for a 33-year-and-counting second hitch. You might think that's overstating a case, and I might think so as well, but the fact remains that I was beside myself at the thought of seeing Ass Ponys in action after a decade-long hiatus. And the reason was quite simple — I had never seen the Ass Ponys during their 17-year run.As Ass Ponys frontman Chuck Cleaver has said many times since the reunion was trumpeted, the band was never nearly as popular here in Cincinnati as they were out in the wider, smarter world. That fact had nothing to do with the reality that I had never seen them play. I loved them before they'd recorded a single note of music.My first exposure to Ass Ponys was their one-song appearance on WVXU's tribute to The Who in the summer of 1989, simulcast live from the station’s studios and appropriately dubbed “Who Cares.” Ass Ponys were among a stellar local lineup that included The Afghan Whigs, The Speed Hickeys, The Thangs, Human Zoo, Bucking Strap, SS0-20, Warsaw Falcons and many others. Each contributed a single song to the proceedings. Ass Ponys, accompanied by local guitar legend Bill Weber, roared through a Who rarity, "Glow Girl," an outtake that appeared on the 1974 collection, Odds & Sods. Having heard about them but never actually having heard them, the band’s R.E.M.-esque take on "Glow Girl" sold me in half a heartbeat. I taped all of the musical performances from “Who Cares” on that July evening (oddly enough the 20th anniversary of the moon landing — insert inadvertent Keith Moon reference here) and I cherish that cassette. Ass Ponys' rendition of the Who's archive gem remains a personal highlight.Four months later, I took a job with a design/marketing firm and almost immediately began clocking serious overtime. Just over a year after that, I revived my freelance writing career as an adjunct to my full-time position, and hours that might have been used to see local shows dissipated like cigarette smoke in a cyclone. As much as I wanted to see Ass Ponys, the planet alignment of my ability to slink out into a night coinciding with one of their local appearances never occurred.But I avidly followed the band’s recording endeavors. I bought Mr. Superlove and Grim upon release in the early ’90s, and my freelance writing activity earned me a contact at A&M Records, which resulted in Electric Rock Music and The Known Universe showing up in my post office box. I raged at the cosmos when Ass Ponys was dropped from the label's roster and exulted when they chimed with typical Cleaver "fuck it" bravado and re-blazed their independent trail with Lohio and Some Stupid with a Flare Gun.Ass Ponys' catalog took on the gravitas of scripture for me, stone musical tablets engraved by the flaming finger of God and sent forth into the world to instruct the unwashed and convert the unconverted. They sang about loss and death and dysfunction and insanity with a cheerily twisted conviction that was infectious and transcendent, and I drank their bitter Kool-Aid with a smile on my face and their songs in my heart.Obviously, just as the Ass Ponys blipped off area radar screens in 2005, Cleaver’s musical collaboration with Lisa Walker was blossoming, laying the foundation for a decade of Wussy brilliance (which continues next March with the release of Forever Sounds). Yet even as Wussy's star ascended, and the band's permanence was asserted, questions lingered about Ass Ponys' status. They had never regretted to inform their fans of their demise, never bid the faithful a teary farewell at the finale of a blaze-of-glory last show. Ass Ponys simply ceased to be, its members scattering to new situations and directions.Maybe that's why the announcement of Ass Ponys' reunion shows at Over-the-Rhine’s Woodward Theater Nov. 6 and 7 was met with such an exuberant reception. As inauspiciously as the band retreated into the shadows, Ass Ponys planned their return with an equal lack of fanfare. But the loyal had little interest in allowing the band to shuffle quietly back into the spotlight. It was quickly apparent by way of social media posts that fans from around the country were already planning their Cincinnati pilgrimages to crowd the front of an Ass Ponys stage one more time.With the Friday night show, after weeks of fairly intense rehearsals, the waiting came to an end and Ass Ponys steeled themselves to the task of presenting material that was, in some cases, close to a quarter-century old. Cleaver reported just prior to the show that he was likely the least nervous member of the band, revealing that bassist Randy Cheek had been up all the previous night thinking about their first show in over 10 years; presumably, guitarist John Erhardt (who plays with Cleaver in Wussy) and drummer Dave Morrison expressed similar signs of anxiety. But Cleaver also noted that the Woodward shows would be populated by the friendliest audiences Ass Ponys had ever attracted.Friday's show began with a terrific set from Swim Team, which rocked a vibe that was part '60s-Pop melodicism, part Blondie-tinted New Wave edge and part Slits avant Art Rock eclecticism. Frontwoman Lillian Currens veered from a sweet Pop croon to a visceral Rock wail while the rest of the band provided an appropriately dynamic soundscape for her gymnastic vocals to pinwheel around in, creating a Riot Grrrl/Lana Del Ray mixtape. The quartet's brash and jittery opening set was the perfect introduction to what would prove to be an incredible moment in Cincinnati's musical history.Given that I was an Ass Ponys stage virgin until Friday's glorious deflowering, I can offer no comparisons, no yardstick of performances past by which to measure the band's transfiguration into a contemporary unit. What I do know is that the four members of Ass Ponys have spent the last 10 years playing in some of the best and brawniest and most creative bands in recent memory, and that expansive breadth of experience couldn't help but elevate Ass Ponys' performance to an incredible new level in the modern context. Cleaver had noted during an interview on Class X Radio with Eddy Mullet and I the Monday before the shows that the band had discussed how to approach their material, with everyone agreeing it was best to relearn and rearrange the songs with their current expertise, rather than to recreate them note for note for the sake of some manufactured nostalgia.The wisdom of that decision was proven with indelible and muscular versions of some of the best selections from Ass Ponys' powerful songbook. They went effortlessly from strength to strength, spitting and kicking and tearing through early classics ("I Love Bob," "Azalea"), A&M-era standouts ("Earth to Grandma," "Shoe Money," "Under Cedars and Stars") and late period wonders ("Butterfly," "Pretty as You Please," "Astronaut"), all with a renewed vigor and the hyper-electric jolt of pissing on an electric fence.As usual, Cleaver was an engaging ringmaster. Three songs in, he noted in classic style, "Some things never change. I still sweat like a whore in church." He then recounted an observation made by a woman he overheard at an Ass Ponys show years ago: "I've never seen a man sweat that much without passing out." Throughout the night, people would call out unrehearsed requests which Cleaver fielded with a definitive "Nope." Cleaver explained the origins of songs ("This one's about a monkey …”) and kept up his standard patter-on-wry, but mostly he thanked the multitude for its dedication and passion, noting how humbling it was to see how many people drove and flew in from all over the country (rumor had it someone was coming from England) with the sole objective of witnessing the Ass Ponys' fresh splendor.At the end, Cleaver announced — sarcastically and yet somehow lovingly — "This is the one that bought us our luxurious lifestyle," and the group launched into its MTV/college radio hit, "Little Bastard," the last in a long string of sing-along moments. If the show had gone on for another two hours, it would have seemed too short, but with the fading strains of "Little Bastard" ringing in my ears, I felt that my first and likely last live exposure to Ass Ponys was an overwhelming success and quite possibly an ecstatic religious experience.As Wussy bassist Mark Messerly noted before the show started, the atmosphere at the Woodward was like a high school reunion "where you like everyone and you want to be there." 500 Miles to Memphis frontman Ryan Malott recounted how he had grown up down the street from Cleaver and had graduated with his daughter, ultimately crediting the Ass Ponys with sparking his interest in picking up a guitar and making his own music.A lot of Friday's attendees had a direct connection to Ass Ponys' past and present. Vacation/Tweens drummer Jerri Queen (who would be opening Saturday's show with Vacation) helped produce and engineer the new Wussy album (as did Swim Team guitarist John Hoffman). The Ready Stance guitarist/vocalist Wes Pence, now bandmates with Cheek, was a contemporary of Ass Ponys with his ’90s outfit Middlemarch. Afghan Whigs bassist John Curley produced or engineered the first four Ass Ponys releases. Tigerlilies guitarist/vocalist Pat Hennessey was fronting The Thangs back in ’80s and ’90s, and was in a Fairmount Girls lineup with Cheek. Jim and Darren Blase helped maintain the Ass Ponys' flame by releasing the 2005 two-disc retrospective, The Okra Years, on their Shake It Records imprint.Blase, freshly relocated back to Cincinnati after several years in Cambridge, Mass. (stop into Shake It’s shop and welcome him home), rightly noted that while Ass Ponys' influence is far-reaching and pervasive, no one, from the time of their first rehearsal in 1989 to the Woodward show we were anxiously awaiting, sounds quite like they do, a sound Blase likened to "an Americana Pere Ubu." No truer words.The two Woodward appearances could well be the last we ever see these members on stage together. There are still plans afoot to reissue the band's long out-of-print catalog, and several people noted that both shows were being recorded, suggesting a live record could be in the works. And since Cleaver never says never, he answered the point blank question from a fan after the show — “Will you guys ever record again?” — with a nebulous yet hopeful, "Who knows?" Whatever happens, however it shakes out, my first Ass Ponys show was a blast. If more crop up going forward, I'll be there, as well. But you never forget your first.
0 Comments · Wednesday, November 11, 2015
Just a couple years ago, the four members
of Hippo Campus were in (or had just graduated from) Saint Paul
Conservatory for the Arts, a high school in their native Minnesota.
0 Comments · Wednesday, November 11, 2015
This week, singer/songwriter/multi-instrumentalist Aaron Collins follows up his stunning solo debut, Godlessly Oscillating, with an equally impressive EP featuring his band, The Blind Conductors. Plus, Indie rockers Ohio Knife and Old City celebrate the release of a new split 7-inch single and Ironfest returns to Southgate House Revival for two days overflowing with great local music.
Friday • Bogart’s
0 Comments · Wednesday, November 11, 2015
A long lineage of Rock defined by a
deep and wide streak of wild individuality coated with a veneer of
respectability is evidenced in the present tense by the Synth Pop
gyrations of The Griswolds.