Plus news on Electric Citizen, Kenny Peck & the Smoky Jack Band, The Lockland Brakes and School of Rock Mason
1 Comment · Wednesday, May 8, 2013
The first of around 150 acts has been announced for this year's MidPoint Music Festival and MPMF.13 tickets go on sale.
by Mike Breen
The Breeders, The Head and The Heart, Cody Chesnutt and more part of initial lineup
This afternoon, the Facebook page of crucial, longtime MidPoint Music Festival supporters, Dewey's Pizza, announced the first handful of artists book to play this fall's MidPoint Music Festival. And, after early-bird discount tickets quickly sold out several weeks ago, the rest of the tickets are on sale now at mpmf.cincyticket.com. The first batch of MPMF.13 performers is very representative of the bookings for MidPoint the past few years. You've got a Modern Rock legend, a few established acts, several current "buzz bands" and a few acts that, if past years' MPMFs are any indication, will be "buzz-worthy" by the time the festival rolls around, Sept. 26-28.Here are the first 17 acts booked for MPMF.13, the 12th installment of the ever-growing music fest that utilizes various venues in Over-the-Rhine/Downtown. Below the list, you can check out a song by each artist on our first MPMF.13 playlist.The Breeders (Dayton, Ohio)One of the seminal bands of the "Alternative Revolution" in the ’90s, The Breeders are currently promoting the 20th anniversary, expanded reissue of their classic Last Splash album. Though the Dayton-based Deal sisters (Kelley of R. Ring and Kim of Pixies) have kept musically active since Last Splash, with outside projects and The Breeders, the world tour for the reissue is special because it reunites the Deals with the album's lineup — bassist Josephine Wiggs and veteran Dayton drummer Jim MacPherson, who also spent time with Guided By Voices. The Breeders are playing Last Splash in its entirety on the whole tour. The Head and The Heart (Seattle, Wash.) One of the top acts of the "Indie Folk" movement, The Head and the Heart formed in Seattle in 2009. An early, self-made recording the band sold at initial shows ended up becoming so popular, local record stores began stocking it and trying to keep up with the surprising demand. The recording began making the music industry rounds, leading to a bidding war for the band. They ended up signing to hometown label Sub Pop within about a year of forming. The group's self-titled album was released to critical acclaim in 2011. The band's warm, ear-grabbing sound has been used a lot on TV spots; you might recognize their "Lost in My Mind," which was the background music for the trailer for the big hit film, Silver Linings Playbook. Warpaint (Los Angeles) With an airy, mesmerizing take on Psych Pop, L.A. quartet Warpaint caught the attention of mad guitar genius John Frusciante, who offered to mix the band's Exquisite Corpse EP. That release and a successful CMJ festival appearance led to Warpaint's signing to the legendary Rough Trade imprint. The label released the album The Fool in October 2010 and the band went back to their relentless touring schedule, which included dates with the likes of The xx, Yeasayer and The Walkmen. The band is currently prepping a new LP. Foxygen (New York, NY/Olympia, Wash.) Foxygen is the engagingly adventurous duo of Sam France and Jonathan Rado, who formed the group as 15-year-olds in 2005 and self-released a dozen or so albums while learning to play as many instruments as possible. The band's skewered Art Pop (akin to that of MGMT) with retro-underpinnings has been drawing attention since the release of the Foxygen full-length debut for the respected Jagjaguwar Records, the Richard Swift-produced We Are the 21st Century Ambassadors of Peace & Magic, at the start of this year. Cody ChesnuTT (Atlanta, Ga.)Singer/songwriter Cody ChesnuTT first came to a lot of people's attention as the lead vocalist on "The Seed (2.0)," a fairly big single off of The Roots' Phrenology album in 2002. That drove a lot of Roots fans to ChesnuTT's full-length from the same year, The Headphone Masterpiece, though what they heard on that album — an underproduced, ambling collection of demo-sounding tunes that surfed a wide range of genres with ADD-like abandon. A decade later, ChesnuTT has returned with a new focus, showcasing a balanced approach based in vintage Soul (vocally, he's quite similar to Marvin Gaye) and Rock & Roll, on the full-length, Landing on a Hundred. Daughter (London, UK) Originating as the "one-woman-band" recording project of singer/guitarist Elena Tonra, Daughter — now a trio, which Tonra's husband on guitar and drummer Remi Aguilella — mixes an Indie Folk base with subtle electronics, creating an emotive sound that can be whisper-quiet one moment and epically lush another. After a self-titled EP, Mumford & Son's Communion label released The Wild Youth EP. Often compared to Cat Power due to Tonra's vocals, last year, the band signed to the 4AD label, a fitting choice given the legendarily ambient sound that defined the label's artists in its early years. The label released the trio's debut, If You Leave, in March of this year. METZ (Toronto, Canada) Relentless in its sonic attack, Canadian three-piece METZ recalls a lot of the punchier Post Punk bands of the ’80s/’90s, drawing comparisons to Big Black, The Jesus Lizard and any number of acts on the (early) Sub Pop and Dischord labels. After a few years of heavy touring, opening for like-minded bands Death from Above 1979, Mudhoney and NoMeansNo, the band signed with indie label legend Sub Pop, which released METZ's powerhouse self-titled debut last year. Kishi Bashi (Norfolk, Va.) Starting his career as a violinist for artists like Regina Spektor and of Montreal, Seattle-born multi-instrumentalist and singer/songwriter K Ishibashi went solo — under the less-confusing moniker Kishi Bashi — and began touring. Making engaging Indie Pop touched by Classical/Chamber influence, the Joyful Noise imprint released his first full-length album, 151A, last spring. There's a pretty good chance you've hear Kishi Bashi before, even if you didn't know it — his jaunty, Shins-ish single "Bright Whites" was used in a wide-running commercial for Windows 8. Julianne Barwick (Brooklyn, NY) Julianne Barwick makes angelic Ambient music based entirely on loops. The Southern-born experimental artist — signed to Asthmatic Kitty Records — creates her compositions by using a loop station and crafting elegant layers of sonic haze, using mostly piano, her voice, some percussion and guitar. Barwick — who recently announced her signing to Dead Oceans and a new album set for August — is an up-and-comer in the Avant Garde/New Music world, recently scoring an invite recently to Yoko Ono's Meltdown Festival in the U.K.Spectrals (Yorkshire, U.K.) Spectrals was originally the work of one dude, British singer/songwriter Louis Jones (with just a little help from his brother on drums). Spectrals' wandering sound touches on everything from Nuggets-esque Garage to swaying, elegant Pop (threaded with reverbed-out, Surf-ish guitar). Jones signed to the Slumberland label in the States, which released his first album, Bad Penny, in 2011. For Spectrals' latest, the Sob Story album, Jones, for the first time, had some help from other musicians (who aren't related to him).The album is due June 18.Dent May (Oxford, Miss.) Singer/songwriter Dent May makes unabashed Pop music, the kind that forces a smile on your face regardless of your troubles. The Mississippi resident singed with Animal Collective's Paw Tracks label in 2008 and released The Good Feeling Music of Dent May & His Magnificent Ukulele, which drew comparisons to the likes of The Beach Boys, The Turtles and Prefab Sprout. For last year's self-titled album, May put away the uke and decided it was time to dance. The album is a cooly eclectic collection of dynamic electronic Pop, retaining those classic Pop/Rock influences, but adding elements of Disco, Funk, R&B Electro. Grandfather Child (Houston, Texas) Grandfather Child was formed in Houston in 2009 by members of various other local bands. The group hit upon a compelling "formula," creating a kitchen-sink sound that is loaded with influence from R&B, Soul, early Rock & Roll and Gospel music, resulting in a pretty psychedelic vibe. The band is signed to New West Records, which released Grandfather Child's eponymous 9-track album last summer. The Ghost Wolves (Austin, Texas) With a blistering sound created by just two people — guitarist Carley and drummer Jonny Wolf (both sing) — The Ghost Wolves traveled many miles across the country to build a fan base one explosive show at a time. The group's debut was the raw and rugged In Ya Neck! EP, which showcased the Wolves' fuzzy take on stompin' Blues Rock expertly, like a two-piece version of The Cramps. The band is getting set to release its debut full-length, Man, Woman, Beast. Jeecy and The Jungle (Detroit) Known for their reportedly incredible like show, Detroit's Soul rockers Jeecy and the Jungle represent two sides of Detroit's music heritage, blending a modern-day Garage Rock energy with influence from classic Soul artists. Last summer, the band released its impressive five-track EP, Twist and Scream.Caveman (New York, NY) Caveman is an NYC quintet that makes atmospheric Indie Rock with the kind of soft-breeze effervescence found in everything from the best vintage "AM Gold" songs to Fleet Foxes. The band released its debut in 2010, CoCo Beware, built a following and signed to notable label, Fat Possum Records, which re-released the debut and also the recent self-titled full-length, which has been garnering great reviews. Perfume Genius (Seattle, Wash.) Perfume Genius is Mike Hadreas, a Seattle singer/songwriter and visual artist whose 2010 debut caught the attention of the Indie music press corps. Quickly signed to the esteemed Matador Records, Perfume Genius' latest is Put Your Back N 2 It, a gentle, intimate collection of spectral, folksy songs.PHOX (Madison, Wisc.) Slanted, sparse yet broad Indie/Folk/Pop band PHOX started turning heads this year with consistent touring and a knock-out appearance at South By Southwest. The band recently released its latest EP, Confetti, which also has a companion "video EP," featuring short films for every track that the group members made simultaneously with the musical recording.
Plus, Tracy Walker releases decade-in-the-making new LP and the latest on MidPoint Music Festival 2013
0 Comments · Wednesday, May 1, 2013
This year's MidPoint Indie Summer concert series — free, every Friday on Fountain Square — puts focus on great local acts and a few notable touring act, singer/songwriter Tracy Walker returns this week with her first recording in 10 years, the album Coetaneous
Vibrations, and get the latest on this fall's MidPoint Music Festival, including news of an initial lineup announcement later this wee.
by Mike Breen
Initial lineup announcement for MPMF.13 due Friday via Dewey's Pizza
Get ready, MidPoint Music Festival fans. This Friday, the first 10 or so artists booked for 2013's MPMF — returning to the streets and venues of Over-the-Rhine and Downtown Sept. 26-28 — will be announced. And longtime MPMF sponsor Dewey's Pizza will have the scoop. Friday, those wanting the info first should head to facebook.com/DeweysPizza ("like" their page, not just for the yummy grub they serve but for the support they've given MPMF and local music over the years). Then, of course, check this here music blog for a recap and more details. Also of interest to MPMF fanatics are the lineups for this year's "Indie Summer" concerts, every Friday on Fountain Square from May 31-Aug. 30. The performers for the MidPoint- and CityBeat-sponsored shows are expected within the week. Keep an eye on this blog for the full announcement as soon as we get the green light to post it. (The lineups for the other themed Fountain Square music nights — six per week — are due very soon as well.) For artists wanting to be considered for a performance slot at MPMF.13, the time to submit is now, as the deadline is quickly approaching. Submissions will be accepted (visit mpmf.com for directions) until May 11 at 11:59 p.m. Several weeks ago, two pricing tiers of "early bird" and "loyalty" MPMF tickets sold out almost immediately. Tickets for MPMF.13 go back on sale this Friday through cincyticket.com ($69 for a three-day pass or $169 for "VIP Experience" tickets).
MPMF also accepting artist submissions at a discount until Friday
For a limited time (while supplies last, as they say), seriously discounted tickets for the MidPoint Music Festival — which returns to the clubs and venues of Over-the-Rhine/Downtown Sept. 26-28 — will be made available starting this Friday at 10 a.m. During this “Loyalty Presale,” three-day “All Music Access” passes can be purchased through mpmf.cincyticket.com (the site will be live for the public tomorrow) for just $49 (they’ll be $20 more come MPMF time). They are expected to sell out fast, so get ’em while you can. For those wanting a VIP MPMF experience, the popular VIP passes will also be available Friday for $129 ($40 off the normal price). The VIP tickets get you priority admission to all shows, access to catered VIP-only events and other goodies. (Last year’s VIP passes sold out before the fest.) In other MPMF news, if you are a musician/performer interested in being considered for a showcase slot at the festival, submissions are now being accepted via Sonicbids. The submission fee is just $20 until this Friday; after that it goes up to $25. (Those without a Sonicbids account can submit to MPMF and receive a two-week free trial of the service.)Stay tuned to MPMF.com and this blog for the latest updates on MidPoint.
by Mike Breen
MidPoint Music Fest to be one of several vendors at debut Locally Insourced trade show on Feb. 7
On Thursday, Feb. 7, local promotional company The Counter Rhythm Group will debut a new "trade show" event that will offer local musicians a chance to check out a wide range of "good and services" available to them in the Greater Cincinnati area. The first "Locally Insourced: Cincinnati Music Industry Trade Show" will take place at Rohs Street Cafe's large Sanctuary room in Clifton Heights. The event is free and open to musicians of all ages. The MidPoint Music Festival is a sponsor of the event and will be on-hand to offer early registration for those wishing to be considered for a showcase slot at 2013's MPMF, returning to the venues of Over-the-Rhine and Downtown once again in late September. Other vendors displaying their services for local musicians will range from video production companies, designers and photographers to promotional companies, poster and t-shirt makers, CincyTicket and many, many others. Locally Insourced looks to be a great chance for artists to explore the many options available to them in their own backyard and help them steer their careers in whatever direction they'd like. Click here for more on the event.
MidPoint Music Festival once again tops itself with nearly flawless three days of music
2 Comments · Wednesday, October 3, 2012
Over-the-Rhine's new energy was on full display
during the 11th annual MidPoint Music Festival, which last week drew
thousands of music lovers from across the region to a dozen venues hosting musicians from all over the world.
by Mike Breen
From informative to downright silly, here are some of our fave tweets from MPMF
Twitter was alive with MidPoint Music Festival tweets throughout the three-day music festival in CIncinnati's downtown and Over-the-Rhine. Many festgoers got to read them in real time thanks to Topic Design, which facilitated the Twitter screens at various venues and on its great mobile app site (click here to relive them all). Here are just a few of our favorites. Add yours in the comments. • Can I take ibuprofen with whiskey? #mpmf #MPMF12 #midpoint— @pamsattwa• Driving through Indiana on the way to Cincinnati for #midpointmusicfestival— @thenewelectrics• So excited to take the next two days off from work and head down to
Cincy for #MidPointMusicFestival for 3 days of music. Much needed vacay.— @ThePickleBear• Indie Illustration—LPK's Tommy Sheehan shares his process for designing prints for @MidpointMusic Festival musicians http://ow.ly/e2xR0 — @LPK• Reminder: Tim Mara's yard isn't a toilet. Hot tip: Enquirer bldg downtown I believe has restroom facilities open 24 hrs. #MPMF— @CityBeatMusic• Dr. Ralph Stanley performing "Oh, Death" at The Emery Theatre, A Requiem Project during MidPoint Music Festival: http://fb.me/1dUIu6GC6— @OTRcincy Oh Death - Ralph Stanley at the Emery Theater from Stephen Pruitt on Vimeo.• Riding bikes is so much fun with Cassie & David @ Midpoint Music Festival http://instagr.am/p/QL41T7A_y9/ — @stevekemple• Gratitude to @MidPointMusic for having me. One of the best festivals I've ever played. Thank you. http://instagr.am/p/QJf86WgKML/— @FdotStokes• Look!!!! We found WALDO at Midpoint Music Festival #mpmf pic.twitter.com/TNpsEQFj— @wendynas• My feet are sticking to the floor but I am loving Turbo Fruits. #mpmf #midpoint— @pamsattwa• #midpoint music festival. These people are athletes in entertaiment.— @Psupplements• The Seedy Seeds in my front yard! #mpmf @ MPMF.12 4EG Stage http://instagr.am/p/QLgussko3-/ — @cincyblog• MidPoint Midway! #mpmf #thisisotr http://instagr.am/p/QLwjrRJKOD/— @like_the_song• It sucks that I won't be able to attend this year's MidPoint Music Festival due to job requirements. To all attending, enjoy. #MPMF12— @CyZibrikMPA• How many @MidPointMusic fans does it take 2 screw in light bulb? 121 -
1 to screw, 20 2 watch and 100 2 ruin experience by talking nonstop
#MPMF— @CityBeatMusic• @CityBeatMusic I take it you were at the Antlers' show last night? It
was like everyone was trying to talk OVER the music! #MPMF— @stevekemple• We just destroyed #mpmf12 #MPMF try to top the rest of the weekend.— @OhioKnife• If you missed Lord Huron I feel bad for you. #MPMF12— @mouse_mischief• Just got to Washington Park to catch Unknown Mortal Orchestra. Do I want Tom+Chee or a beer first? - j #MPMF12 #vitaldecisions— @drunkmusicrevws• OTR hopping in the 45202 #MPMF12 pic.twitter.com/Go7fJvxk— @CincyChamber• Falling asleep to the tunes outside from #MPMF12 . I <3 @OTRcincy & @WashingtonPark ! Great night!— @BalancingYogi• "Coincidentally I had a dream about Kurt Cobain." "Name dropping!" - Imperial Teen #mpmf #MPMF12— @pamsattwa• Don't call it a comeback. #thisisotr #mpmf— @OTRcincy• Hundred Waters just won #MPMF , hope you didn't see The Walkmen for the 50th time instead— @eachnotesecure• It was cute to see Dinosaur Jr. picked up by their dad Dinosaur Sr.
after @MidPointMusic set last night in a sensible minivan #MPMF— @CityBeatMusic• So inspiring to hear about King Records in the Emery Theatre. Happy Ralph Stanley Day! #MPMF— @jenlkessler• Want to hear more of your new MidPoint discoveries? Check out our guide to #MPMF bands in our collection! http://cinlib.org/QcwHVn — @cincylibrary• Photo: @jjjoeycook in front of Music Hall. Mount Eerie t shirt. #mpmf -i (Taken with Instagram) http://tmblr.co/ZcudByUC2FM- — @PomegranatesArt• Just watched a Cincinnati Police officer buy an Andrew Bird CD...he was so excited!! #MPMF— @cassandra_anne• Emery Theatre smells like your grandparents' house but sounds like Carnegie Hall #mpmf— @mktgwithmeaning• Photos – Kelly Thomas & The Fabulous Pickups, 9/27/12, Midpoint Music Festival, Cincinnati, OH @MidPointMusic #mpmf http://www.cincygroove.com/?p=10090 — @cincygroove• @MidPointMusic Thanks for being sweet. Had a blast and then some playing Arnold's/WNKU stage.— @tomvollman• I think I just had one of the best weekends if my life. I don't want to stop. #MPMF @KansasBibleCo— @goldtoothe• #mpmf the people spoke and the people broke. The live app went down
sometime overnight, the result of much activity. Archive of it to come.— @topicdesign• Who would've thought my barnes & noble is the stopping point for #mpmf bands today. 6 so far!!— @foralgernon• 'Twas the day after #mpmf and all through OTR not a creature was
stirring... No, really, it's so quiet I can hear bugs trilling.— @winemedineme• Post #mpmf come-down always a little weird. Why can't it go on forever?— @Porkopolist• Thank you Cincinnati for giving us a fantastic 11th #MPMF! Let's do it again, say, this time next year?— @MidPointMusic
by Brian Baker
I love the last day of MidPoint and I hate the last day of MidPoint. I love the energy and anticipation of what has always been the best night of the festival and I hate the thought of going home at the end to the reality of another 362 day wait until we can do it all over again. Other than a couple of hiccups, both personal and universal, this may have ultimately been the most perfect MidPoint ever.First up for Day 3 was a stroll to Washington Park for Freelance Whales, the Brooklyn, N.Y., Chamber Pop group that filled the void when a skateboard fractured Sleigh Bells touring schedule. This was my first experience in the park since it’s renovation and it really is spectacular from every conceivable vantage point. The design, the playground, the fountain, the attention to detail; Washington Park is destined to become a downtown jewel and everyone who threw in to execute this vision is to be commended, and perhaps knighted, if we do that.I did want to see Freelance Whales, but I had a side agenda for coming to the show; I figured there might be a chance of spotting my friend (and former CityBeat contributor) Matthew Fenton since this is the kind of show he likes. As I scanned the growing crowd, I spotted and was spotted by none other than former CityBeat editor John Fox, now installed as a big cheese at 3CDC, largely charged with publicizing and programming Washington Park. We talked about the park and the triumphs and travails of attempting to make it as universally inclusionary as possible to all of Cincinnati’s residents. I hadn’t talked to John in a very long time, and it was great to catch up, but it was greater to see him so incredibly excited about the park and its potential. He has always been an incredible friend and booster of the city and he’s in the perfect position to channel that passion. In the spirit of his being “the host” at the park (and my ever deepening poverty), I let him buy me a beer. In all seriousness, I owe John an unpayable debt. He recruited me as a CityBeat freelancer when he was building the paper back in 1994, and his one requirement for a place on the masthead was that I get back to writing features, something I hadn’t done in well over six years at that point. John’s conditional offer of freelance work launched me on a path that continues to this day, and absolutely set the stage for my transition into full time writing when I lost my full-time design gig in the idiot epidemic of 2001. So many great experiences and interviews and interactions and friendships resulted from a lunch meeting 18 years ago when John looked me straight in the eye and said, “You are too good of a writer to be doing nothing but reviews. You need to be writing features and that’s all I want you to do for me.” Without that firm encouragement and faith, the last couple of decades could have been very different indeed. I owe you an ocean of beer, Sir John Fox, and although it may be awhile before I can start making payments, please know that I acknowledge the debt. OK, dry your eyes, pussies … on with the shows.Freelance Whales were an excellent stand-in for the silenced Bells. Their gorgeous Chamber Pop swells and subtlety were made even more majestic and expansive with Music Hall as the backdrop behind the MidPoint stage. As the sun went down and Music Hall lit up in anticipation of the evening’s CSO performance, Freelance Whales’ gorgeous melodicism and quietly powerful presentation was exponentially amplified. Any fan of the Decemberists or Arcade Fire should make room for Freelance Whales in their playlists. From there, it was a brisk walk through the teeming Midway (what a fantastic idea, please let’s do this forever) to Japp’s Annex to witness the loopy edge of the New World Ancients. The Chicago quartet exudes a definite Pop/New Wave vibe, a quirky clockwork rhythm that suggests Go 2-era XTC and early 10CC with hints of the frenetic artiness of what was known initially as the Mystic Knights of the Oingo Boingo. That 21st century New Wave concept was reinforced on “Shape Shifter,” which careened like vintage XTC and Danny Elfman, while “Hole in the Sky” sounded like a Space Rock anthem collaboration between Andy Partridge and Godley & Creme; they even hauled out the brilliantly weird “We Are the Future,” an old song from Athens, the band that spawned NWA. All four NWA members had all-seeing third eyes painted on their foreheads, which offered just the right amount of creepy fun to the proceedings.Ric Hickey ducked into Japp’s for a tour of the porcelain village, on his way to rendevous with Greg Gaston and Jeff Wilson to check out The Walkmen, and since I was headed that way myself, I followed him out. The four of us drifted down to Neon’s for a beer or two, bullshitted for a spell about music and life (like there’s a difference), watched the Reds tie the game in the eighth (glad we didn’t stick around for the extra innings … cest la vie — still division fucking champs, babe) then headed up to Grammer’s for The Walkmen (Ric rethought his schedule and hung around for the late lineup at Japp’s).Although we were half an hour late for The Walkmen’s start time, it turned out they hadn’t been particularly timely. As we waited at the front gate (based on the asshole-to-elbow crowd that packed Grammer’s tent, I was convinced the line was designed to grease up latecomers so they could slide into the throng more easily), I was overwhelmed by the exquisite aroma drifting over from the food truck next to the entrance. Greg saw my sidelong glance and gave the taco truck and the young lady taking the orders a ringing endorsement.The Walkmen were as fabulous as I suspected they would be. Spiffed out like a GQ Rock fashion layout, The Walkmen displayed a similarly stylish edge in the live presentation of their energetic yet restrained studio work. Still going strong a dozen years after forming from the ashes of Jonathan Fire*Eater and the Recoys, The Walkmen have evolved from atmospherically sparse Pop to more visceral and then Folk-tinged Indie Rock. The Walkmen’s new album, Heaven, is a more lush sonic affair, with songs that deal with the pressures of adulthood and the strength of love. The album’s sonic breadth is hinted at in concert but The Walkmen are more than capable of allowing the songs to do the heavy lifting, presenting them with power rather than mere volume. In an age of disposability, The Walkmen have persevered for 12 years without a lineup change, going their own way in their own time, and seamlessly tempering their youthful enthusiasm with their hard-won maturity. It’s a wirewalk that few bands can pull off but The Walkmen manage to do it with an easy grace and humility; they were clearly affected by the huge turnout for their MidPoint debut.I reluctantly bailed after about 30 minutes due to the start of the 10:00 pm shows I wanted to catch, and my creeping hunger, the launch codes for which had been entered coming into the show. I headed straight for the Taco Azul truck and quickly discovered Greg was right on all counts. The tacos were otherworldly good. All apologies to Mr. Hanton’s for straying from my steady diet of handwiches, but it was inevitable; when I was at Washington Park, I noticed that Island Noodles, which had been a huge hit at Bunbury and my favorite food of the festival, had a booth near the MidPoint stage and I briefly considered working in a walk back to the park to score a noodle bowl. Saturday was destined to be hot dog free.I was just finishing my tacos when I ran into Black Owls' Brandon Losacker and three of the Sohio musketeers, who were all headed to Below Zero for The Ready Stance show, which was my destination as well, so off we went to see the wizards. Brandon graciously handed me a delicious Kentucky Bourbon Ale, the perfect cigarette after my taco interlude.The Ready Stance was already in full swing and what a swing it was. The bar was absolutely sardine packed with fans loaded with love for the Stance and they didn’t disappoint. After a scorching spin through what I’m guessing was a new song (I didn’t recognize it as anything from their debut, the uniformly excellent Damndest), Ric Hickey stood wide-eyed and slackjawed and proclaimed the song’s classic brilliance. He wasn’t wrong. Damndest was a great opening volley, but their next shot could well be the one heard around the world, and this gig was an all too brief example of their talent and passion. A great set from a great band.Near the close of the Stance’s set, I ran out to the Midway to catch the last three songs from Imperial Teen, because they’re one of my favorite Indie Rock bands with a quirk factor that is discernible but not obvious or trendy. I’d been looking forward to their 11:30 pm slot, but Imperial Teen’s set moved from the Hanke to 10:00 pm to accommodate the outdoor music curfew. It was clearly a great finish to what seemed to have beeen a rollicking set; Sean Rhiney declared it to be his favorite band of this year’s MidPoint. And the band was certainly appreciative of the large crowd that turned out for them; frontman Roddy Bottum noted that this was their only Midwest show and that they were glad that it was happening in Cincinnati. Their new album, Feel the Sound, is fantastic, as is the bulk of their catalog, and I hope they find their way back here very soon.After that, it was a quick hustle over to The Drinkery to witness the Hard Rock fireworks provided by Thunder Bay, Ontario’s Bella Clava. I had written up the CityBeat preview for the band so I was already inclined to check them out, but the Mad Anthony guys had done some gigs with them and were highly recommending the show, so Bella Clava went from “possible” to “definite” in short order. The adrenalized quartet was hotter than fresh lava and proceeded to melt every face in the jammed Drinkery space with the ferocity of a bull on crystal meth. Frontwoman Caitlin Dacey was a mind meld of Ann and Nancy Wilson, switching between guitar and keyboard, guitarist Steve Suttie channeled the likes of Jimmy Page and Richie Blackmore with sweat-drenched conviction and fury, and the rhythm section of bassist Scott Hannigan and drummer Zack Mykula created a thunderous bottom that could have been registering as a seismic event. The band was clearly moved by the MidPoint love they were receiving; at the end of their set, Caitlin noted, “I need to get a picture of you guys; my mom won’t believe it.” Ringo Jones hopped on stage and got a shot of the band with the Drinkery’s Rock drunk crowd behind them. It was a thing of beauty.Then it was back to Below Zero to yet another near capacity audience for yet another Canadian import. Zeus came highly recommended by Losacker and several others, so I decided to check them out. The quartet were as good as advertised, sort of a Hard Rock spin on the Beatles and the Kinks. In the studio, there is a more than noticeable Sgt. Pepper vibe to Zeus’ sound, but in the live context, some of that psychedelic subtlety gets shaved off in favor of a leaner, more visceral Rock experience. It was clear that a fairly large percentage of the audience knew what they were coming to see, because there was a good deal of song recognition and wild response in the crowd.I ducked out after about 30 minutes of Zeus’s sonic lightning bolts to catch the end of the road for local Rock heroes The Dukes Are Dead. Here’s proof that sometimes bad luck can result in good things; London’s Leogun was forced to cancel their MidPoint appearance and so the Dukes’ final show was pushed to the closing slot, allowing them the leeway to play considerably longer than their original 9:45 time would have accommodated. In some ways, it’s been a bad year for straight-up Rock in Cincinnati, with the recent demise of Banderas (MPMF regulars) and now the dissolution of the Dukes. As befitting a band that was playing its last show in the last slot on the last night of MidPoint, the Dukes left nothing in the bag. The band’s frenzied set was a thrashfest of howling vocals and grimy, guttaral riffage that was so explosive it was tempting to think that Luke Frazier and Luke Darling were playing six string grenade launchers, while bassist Randy Proctor worked his bass like a lead guitar and drummer David Reid hammered his kit like he was forging broadswords for Middle Earth giants on an anvil made of asteroids and pain. Formed just three years ago, it looks like the Dukes are going their separate ways to pursue new musical projects, which we can only hope results in a massive stock split as four hugely talented Hard Rock provocateurs subdivide into a handful of new and similarly bent projects. We will certainly welcome the Dukes Are Dead in their new individual configurations, but anyone was there will never forget the way they went out collectively. It could have been a bittersweet moment, and to a certain extent, it was, but it was also the joyous beginning of the rebirthing process, and in that context, the final show of The Dukes Are Dead was an absolute perfect way to draw the curtain on MidPoint 2012.MidPoint 2012 Saturday Night Notes:• Even by my standards, I swilled a lot of beerage at this year’s MidPoint. Mike Breen threatened me with an intervention and a film crew from the so-titled A&E show, but he also offered to buy the beers, so it was all good. Still in all, if you ran into me and expect to see our exchange in these musings and it’s not here, don’t feel left out. There are events that, even just hours old, are vague and unstable memories to me now. It’s a lot to expect for an aging and beer-sodden brain, so bear with me.• Day 3, no Matthew Fenton. It cannot be that we didn’t cross paths even once over the course of the three days here, so I have to believe that he skipped this year’s soiree. He and Kelly were here for Bunbury in July so maybe that was the reason he bailed this year. A MidPoint without Matthew is like a MidPoint without sunshine, and while I get that the vast majority of it happens at night, you know what I mean (or refer to the preceding paragraph for clarification).• Ran into MPMF stalwart/stage manager/former Buckra guitarist Jacob Heintz, his niece and pal Brome (the spelling of which I’m guessing at). It was the first time I’d spotted Jacob all weekend … I was beginning to think maybe I should take a shower, the way I was being avoided. Then I decided that was a rash decision. Or maybe just a rash. Either way, it was great to see Jacob.• Crossed paths with Paul Roberts and his sister at Japp’s during the New World Ancients. It was the first of many crossings with Paul and his merry band of Rock rangers, including Faint Signal guitarist Randy Campbell, big Jim and the little guy whose name always eludes me (see the opening paragraph for clarification).• I love that local singer/songwriter Ric Hickey is back in town after a stint on the west coast. And more importantly, Ric Hickey loves that Ric Hickey is back in town. Time to strap up and Rock on, my brother. Welcome home.• The Ready Stance gig was a stacked deck of musical luminaria; The Purrs’ Jim Antonio, drummer to the stars Dana Hamblen, Black Owls’ Brian Kitzmiller and Brandon Losacker (who repeatedly supplied me with Kentucky Bourbon Ales, which I may have developed a dependence on), the above noted Ric Hickey and CityBeat head man Dan Bockrath, who repeatedly bought the beer at every possible opportunity. I’m thinking of starting a Kickstarter campaign to fund the construction and upkeep of the Brian Baker Beer Buying Hall of Fame. I smell a plaque with Dan’s name inscribed on it. Or maybe I just missed the urinal. Again.• A couple of Sean Rhiney (musician and co-founder/operator of MidPoint before CityBeat took over) sightings, first at Washington Park as I was departing Freelance Whales, and again at the Imperial Teen show. Sean is a prince among men, and even has a princely look. If royalty ever comes back to America, Sean should be in line for some kind of dukedom or earlship or lordiness. Really.• I happened upon former Host vocalist Chris Charlton, who was handing out free copies of the debut issue of his new comic book, Sleepless. His written all the stories and worked with a variety of artists to bring them to life in Sleepless, which is being published by Assailant Comics; there will definitely be a #2. Chris says he may get back to music at some point, but right now he’s concentrating on the comic. The first story is a zombie love story, but my fave was “Artificial Unintelligence”; pick one up and enjoy at your leisure.• Randy Cheek (member of The Ready Stance and Fairmount Girls and former bassist for Ass Ponys) needs to write a book. After the Stance gig, his stories in the alley next to the dumpsters beside Below Zero were all incredible, ranging from stepping in human waste after a gig (the phrase “slightly melted poopsicle” was used) to seeing a bedbug on an amputee’s stump in his daytime role as an exterminator, all of which was punctuated by a guy pissing on the other side of the dumpster. Randy really needs to write a book. Really.• The old saxophone player who was blowing on 12th Street just down from the Midway segued from the theme song for Sanford and Son to George Michael’s “Careless Whisper,” which, in my state at that moment, was a sure sign that a portal to another dimension had been accessed, or that alien beings had just been contacted, like with that weird note sequence from Close Encounters of the Third Kind. I’m still not sure it didn’t.• I stumbled into Mark Messerly, Eric Appleby and his lovely wife Trish on the way to Bella Clava. I should have asked Eric about Matthew. There were exchanges, a bad vaudevillian punch line (mine, naturally) and gales of laughter (a drunk is never not funny), as well an introduction to some lovely people whose names were obliterated by the first stormtrooping guitar chord that hit me at The Drinkery. I pulled out my pad to write them down on my big notepad titled "Don’t Forget, Dumbass," and they were gone. Regardless, it was nice to meet you. The second introduction usually sticks.• There were so many people at the Bella Clava and The Dukes Are Dead shows that my memories are kind of bubbly around the edges, like a burnt photograph. The Mad Anthony guys were all there, Jeremy Constantinople from Banderas, Paul Roberts and the gang (which sounds like they’re the Cosby Kids or something, but they’re not, I’d bet), and Beth, who I met at the Black Owls show, and a guy named Chad who has a band in Newport and wanted to hire Randy after the last Dukes show (he told me the name of his band, but the opening paragraph should be referenced for clarification) and Dan Bockrath who bought me a Red Stripe because it was the only beer the Drinkery had left, and you were there, and you and you. And it was a beautiful, beautiful night filled with amazing people and fabulous music and love. Or at least really intense like. And it stoned me. Or the opening paragraph did. Either way, blissed out at MidPoint again and again and again.• As always, thanks to the great (and nearly jailed) Dan McCabe for his grace under fire and his dedication to making MidPoint one of the best things that happens in Cincinnati. He is a king in the new royalty, a king I tell you. Thanks also to the tireless volunteers who make this run like a well-oiled machine (I use beer to oil my machine, and it’s a good thing the volunteers don’t take that approach or nothing would get done), the fans who spend their hard earned money on wristbands and venue tickets and food and gallons of goof juice and souvenirs, and of course the bands who come fromaround the corner, across the state, around the country and the globe to entertain us and bring a little musical sunshine into our spongey consciousnesses. Or is it consciousnessi? I don’t have time to look it up. MidPoint 2012 is a lovely memory, and I’m drooling like Pavlov’s dogs for next year’s lineup, whatever it may be. Matthew Fenton, your place is saved. Next year, for sure.
by Brian Baker
Another beautiful evening for MidPoint 2012 despite a dreary day as an opening act. Thursday night’s festivities were fantastic, but they turned out to be a mere warm-up for the grand mal WTF of Friday night. As it should be.First up on the agenda was a walk down to Grammer’s to once again bathe in the resplendent Blues chemical peel that is the Sundresses. My adoration of the band has now lasted longer than my relationship with my first wife, and it’s been worthwhile for a hell of lot longer. How do I love thee, Sundresses? Impossible to count the ways. The Sundresses are a 45-minute ride on an indoor roller coaster that cranks out a soundtrack of blistering Hard Rock murder ballads, spooky Garage Jazz Punk lust songs, gritty Indie Blues stompathons and otherworldly combinations of all of the above. The ’dresses began with Jeremy Springer’s howling mad interpretation of the Billie Holiday classic “Strange Fruit,” and the adrenalized trio didn’t let up for the duration of their set. It was classic Sundresses for MidPoint; for the intro to “My Name is Rock and Roll,” Jeremy noted that it’s “a song about why you shouldn’t date a musician,” then noticed a friend up front, motioned him over, took a huge swig of beer and spit it onto the exultant fan.“It wouldn’t be a Sundresses show,” Jeremy deadpanned, then exclaimed, “Hey Jessie, thanks for the Ritalin.” Brad Schnittger was killing it as always on the unhinged Swing Punk of “An American American” and the Garage Bluesheartpunch of “Zappado,” which they premiered at last year’s MidPoint, and bass dervish Makenzie Place spun to our heart’s content while creating a throb powerful enough to punch a hole in a bank vault. Please have a new album soon, please.After the filthy splendor of the Sundresses, I headed over to the Midway for another in a series of fabulous hot dogs from the equally fabulous Mr. Hanton’s, who also informed me that he’s getting ready to open a location on Calhoun across from the UC dorms, which I think he may be doing in a double decker bus, which will be amazing. Look for it next spring. En route to the Midway, I overheard talk on the street that the Hanke Building shows had all been moved to the Midway because the fire marshall had closed the place after Thursday night’s smoke alarm incident. Once at the Midway, I made a beeline for Mr. Hanton’s; one bite into my heavenly handwich and it occurred to me that I should be having a beer with this fine repast. Just as this spark of a thought jumped across the synapses that handle the alchol traffic (which seems like four of the six lanes in my brain’s highway), a beer suddenly appears in front of me as though I had willed into reality. It turned out to be CityBeat publisher/avenging angel Dan Bockrath, making good on his chiseled-in-stone promise to buy me a beer at every MidPoint or making a shameless bid to work his way into my annual narrative. Either way, I now had a beer and a dog. Dan confirmed that the Hanke shows were now all Midway shows, but the schedules had all been moved up to accommodate the outdoor noise ordinance. That unfortunate news pretty well blew up my schedule for the night; I had planned to run down to the Hanke after the Black Owls show to see the Kansas Bible Company, which Dan informed me was happening at this very moment. I bolted for the Midway stage with dog and brew to witness what little I could of the Indie Soul rapture of KBC. What do you get when you add a six Indie Rock guys with a grounding in Soul and a five piece horn section? Magic, that’s what. I could only stay for three songs but KBC more than lived up to the hype that I had written into their preview blurb; they were epic like early Genesis, brassy like early Chicago and earth- and ass-shaking like Oingo Boingo, with a Soul vibe as deep as the Marianas Trench and as rich as fine Corinthian leather.I would have loved to hang around for more of Kansas Bible Company, but I really wanted to see Culture Queer at the Cincinnati Club, seeing as how I’ll be interviewing them next week for an upcoming feature to advance the album release show for their excellent new disc, Nightmare Band. Assorted detours got me to the show about mid-set, and CQ was well into a scorching Electro-Pop dance groove at that point. It wasn’t the full-bore dancing girls-and-a-transvestite slut bride chorus line from last year’s roof-raising blow up at Artworks, but it was an astonishingly talented four piece (and their man-behind-the-curtain wizard controlling the screen projections behind the amps) cranking out a sonic blurt that suggested the B-52s with the campy novelty excised in favor of incendiary Indie Rock and New Order without the subtext of severe depression. CQ's Scott Fredette entertained up front (“So what do you want to do? I’ve got a doobie in my glove compartment...”), Sam Womelsdorf peeled off guitar runs that walked the line between Indie Rock power and Dance Rock slink, Jeremy Lesniak split his time between guitar and keyboard in the same pursuit, and Dana Hamblen pounded out the beat with the sadistic joy of an interrogator working over a Guantanamo detainee for information while harmonizing or singing lead. It was stripped down but it was standard Culture Queer weird brilliance or brilliant weirdness or both.After CQ‘s set I headed over to the Main Event to settle in for Mad Anthony and Black Owls. My original plan was to check out KBC at the Hanke, back to the Main Event for MA and the Owls, then back to the Hanke to check out the electrifying Soul revue of JC Brooks and the Uptown Sound. But with the switch to the Midway and the noise ordinance, JCBUS would be wrapping up at Mad Anthony’s start time and so I made the executive decision to hang at the Main Event. It turned out to be a wise choice on a couple of fronts; Kentucky Knife Fight blew the doors off the joint with a hillbilly Garage Rock vibe that was absolutely jaw-dropping, and Homer Bailey was pitching the last inning of his no-hitter against the Pirates. When I got to the Main Event, Ringo MF Jones was at the bar watching the game. I strolled over and got my man-hug from Ringo, who informed me of the drama at hand. The Reds didn’t get anything going in the top of the ninth, so it was down to Bailey in the bottom half, striking out one and getting a couple of pop outs. The last pop fly happened just as KKF was finishing a song, and everyone at the bar went bugnuts with the close out of the no hitter. I felt bad for the band, hoping they weren’t getting big pants over an ovation that was pointed in the opposite direction. The fact is they were killing it last night and they deserved more attention than they were getting, but they seemed to have a pretty good crowd in front of them, so it wasn’t a bad night for them.With the win, Ringo, Adam Flaig and Marc Sherlock tore themselves away from the post-game wrap-up to mount the stage, strap up and turn their amps up to “jet engine.” Is there a better and more ferocious Rock band than Mad Anthony in Cincinnati right now? I don’t bloody think so. The trio tore through their set with giddy abandon, as Ringo belted out lyrics of love and alienation (and love of alienation) with the energy of a spider monkey and the lung capacity of a lowland gorilla while abusing his six-string in a manner that could trigger an intervention from Guitar Protective Services, while Adam performed similar atrocities on his side of the stage and Marc banged out a double time Punk pulse that sounded like the beatkeeper on a Viking ship imploring his oarsmen to get their vessel up to water skiing speed. Sounding like a cross between Nirvana and Black Sabbath with 100,000 volts being pumped into Kurt Cobain and/or Tommy Iommi’s asscrack(s), “We Fucking Love This City” washed over the faithful like a tidal wave of sound and adoration and Mad Anthony proved once again that passion, unhinged energy and volume are the ingredients to the most powerful musical cocktail known to man; Punk with a twist of Hard Rock, shaken, stirred, slammed and reordered. Maybe we should call it a Madhatten.Next up on the bill was one of my most anticipated shows of MidPoint. I had been totally jacked to see Black Owls at this past summer’s Bunbury Festival after witnessing both of their MidPoint appearances in previous years, but the Sunday thunderstorm, complete with potentially deadly lightning, denied the Owls their chance to take the Alive One stage. So, like most of the patrons of the festival, they drank themselves into a stupor. Unlike most patrons, they were considering how they would storm back into Cincinnati and take revenge on Mother Nature for her pissing fit. Last night’s MidPoint show was the exquisite answer, as the Owls tore into their hour-plus set with the alcohol fueled bravado of Guided By Voices, the razor sharp choogle of T. Rex, the mutated Folk Metal of Mott the Hoople and the blazing Punk edge of everything good about the New York scene in the mid-’70s. Black Owls translate their influences into a tumult from the grimy floor of their glitter garage, a Glam-slam-thank-you-maam assjacking that is as familiar as it is fresh. Their new eponymous double album (available digitally at Bandcamp) is a marvel, and the Owls turned out hypercaffeinated versions of the new songs, including the visceral ballkick of “She Was There,” the Stonesy rumble of “Skynyrd” and the Bob Dylan-meets-Tom Verlaine Bowie tribute of “Octopus Flat,” as well as older classics like “Glorious in Black,” sounding like Marc Bolan fronting Steppenwolf and the cloudbursting joy of “Julius Morningstar.” Ed Shuttleworth and Brandon Losacker craft a solid wall of guitar squall (without a single solo, mind you, or one so subtle you’d never identify it as such), Alan Beavers attacks his bass with lead guitar precision and power and Brian Kitzmiller is still the most amazingly solid drummer on the scene and the absolute perfect foil for the Owls’ brand of contempo/retro Glam Punk. And at the front of it is David Butler, a lanky bundle of coiled energy with a voice that channels David Byrne’s tremulous warble and Ian Hunter’s power howl. For all these reasons and a few more, Black Owls have built a pretty sizable fan base here and they’re close enough (north of Columbus) to make regular visits to Cincinnati. If you have the slightest affinity for any of the artist noted here, a single exposure to Black Owls will have you on your knees and singing the praises of Granville’s favorite sons; if they were any better, they’d be banned as a controlled substance. Black Owls are your new favoriteband … do something about it.I almost hit the sidewalk to check out PUJOL at Below Zero, but chose to give my feet a break and stick at the Main Event to catch Sisters of Your Sunshine Vapor out of Detroit. They had kind of a Doors sensibility, with a Gothic Pink Floyd undercurrent, and it was interesting and compelling in its volume and expanse, but it was a rather sonorous follow-up to Mad Anthony and Black Owls, so I used the Sisters as the backdrop for drinking, gig chat and celebrating the Reds’ no hitter.MidPoint 2012 Friday Night Notes:• I ran into several old pals at the Sundresses’ soiree, including the incomparable Kip Roe, who showed up with Purrs bassist/singer Jim Antonio and the always affable Paul Roberts, who showed up with his wrecking crew and put alovely Rivertown Ale into my inexplicably empty hand. Also in attendance was former design co-worker Lon Stewart, who I typically see at MidPoint because I don’t run in design circles anymore, literally or figuratively. We caught up, reminisced a bit about the old days at Optimum Group, and just generally shot the shit along with his lovely companion Paula (serious emphasis on the lovely; hey, I’m married, not dead). I also just caught a glimpse of someone who looked suspiciously like Greg Gaston, but he was finishing a beer and motoring for the gate and I couldn’t have run him down from my position.• Day two, still no Matthew Fenton sightings. I have to think that maybe he bailed on this year for whatever reasons. I typically catch up with him and Kelly on the first night, but barring that, always by Friday. Maybe third night's the charm this year.• Stopped by the Segway store and talked to Black Owls' Brian Kitzmiller, who was working a promotion there. The rest of the Owls were there as well, and Brian re-introduced me to Sean, owner of the Segway franchise here and a super nice guy. While we chatted, the Ready Stance’s Wes Pence and Chase Johnston and a couple of buddies rode up on bikes on their way to Washington Park. I slammed about half of one of Brian’s giant Hudepohls before taking to the sidewalk again.• If you want to take a truly extravagant piss, don’t miss the restrooms at the Cincinnati Club. Holy crap on a communion cracker, after the standard bar toilet atmosphere, this set-up looked like the lobby of the Netherland Plaza outfitted with urinals and stalls. In fairness, every place has been clean and not disgusting in the least, but certainly none have exhibited quite this much class. I don’t have anything on my Saturday schedule at the Club, but I may rethink that after last night’s luxury.• The evening at the Main Event was a solid parade of old friends and new acquaintances. Naturally, it was old home week to catch up with Mad Anthony and the Owls, and their respective entourages, including Ringo‘s ultracool girlfriend Carrie, Brian’s lovely wife Sarah (Post-It free for the third year in a row), Generals bassist Sammy Wulfeck and his glowingly expectant girlfriend Jenny, and Brandon Losacker’s stepbrother Andrew, an incredibly nice guy who even helped Brandon at load out; that’s real brother shit right there. Chuck Madden showed up to take some shots of the Owls; brilliant sound man that he is, he pointed out that my vantage point was the worst sound in the room, so we moved to the other side, where it was excellent. Also chatted for a bit with Brian Pennick, now doing business as the Counter Rhythm Group, but our first meeting was four years ago when he was drumming for the Turnbull AC’s and we met at his house for the interview. Beer flowed constantly, as offered most generously by Ringo Jones, Ed Shuttleworth and Brandon Losacker, who also threw in a shot of Jameson. The beer gods welcome you into the Pantheon of Hoppiness.