Music site roundup

Lots of great music coverage going on lately.
Here are a few things you should definitely check out:

• I saw this link to an interview with Times New Viking in London. I didn't plan to read it at first, because the interviews are becoming pretty redundant lately. But this new one is pretty damn insightful on the current state of Ohio/Columbus music. I especially like the quote about how ever since The Velvet Underground came to Ohio in 1966, Columbus bands have been competing for the loudest band title ever since. The more you think about that, the more it rings true.
You can find the entire article, HERE.

• The Wheel's Still in Spin, a Cincinnati-based site, has done a nice write-up on the excellent Shake It Records for this week's feature edition of "Better than the Chili." Read all about it HERE.

• I really enjoy the Dayton-based site "Buddha Den" because Kyle over there does a great job of creating new content and keeping it coming non-stop.
He has reported that the Dayton underground music site Fictionband has begun offering free downloads of Dayton bands from the more distant past, in addition to the current crop of home recordists. He said the material is extremely difficult to find elsewhere.
With The Nite Owl's recent demise, The Buddha Den reported that there are other options. Kyle said The Dayton Dirt Collective is a new venue in town that is based of the models of other collective type venues such as Mr. Roboto in Pittsburgh.
"In light of the recent closing of Nite Owl as a key venue in Dayton, bands in the region may want to look into this venue as an optional stop in Dayton. Additionally, you should contact the staff at the DDC, as their ability to step up and create an all-ages, non-alcohol-based venue is pretty cool," he wrote.
In other Buddhe Den news, the site will be releasing its own third seasonal sampler on July 1. It offers free downloads of the best in Dayton independent music.
• Cincinnati music critic Mike Breen has a write-up on a new series of outdoor music events happening this summer, called "Indie Summer." It basically consists of nightly offerings of live music at the Fountain Square in downtown Cincinnati. This Friday features The Lions Rampant, The Sundresses and Turnbull ACs. Next Friday after that will be Cari Clara, Paper Airplane and The Harlequins. Check out the full article, HERE.
• Pitchfork Media has some great news about Chicago's The Ms next CD. Read all about it, HERE.
• Hopefully I can add to this round up throughout the day...

Touring into a vacuumThe Midwestern indie rock touring dilemma

One of the toughest questions any band faces is whether or not to take the show on the road.
The majority never really leave their own backyards, preferring to do shows at that bar down the road where they know the owner, know who books it and know every single person who will show up.
Sadly enough, this is what defines most music scenes. The bands that gave up, now staying home, desperately trying to control something in their favor so they feel useful and can create some semblance of power.
Then you have the rare bands that throw caution to the wind, pack up their shit and leave for months. How the hell can they do that? Is it just because they are young, in college and have no responsibilities? Do they live in their rich parent's basement? Are they intent being waiters their whole lives? Or is it just because they possess stronger convictions other musicians lack?
A year ago I started to write an article on the tours of unknown Midwest indie bands, because I noticed there were a scant few doing it. But these days it is even more interesting to me because there are more - even in the face of gas prices which have risen to just about $4 per gallon. Then I saw this article on band having problems touring in this economy.
Often times I hear about a band going out on tour across the United States and I have to wonder. Maybe the band is pretty new. Maybe they have some fans in their hometown. But how can they expect to make any money playing weeknights in towns when the local newspapers won't even review their CD?
It has to be rough spending more than $100 on gas in a few days, playing to five people and making barely enough to pay for food. I seriously wonder how bands do it. More importantly, I wonder WHY they do it. What drives this irrationality? It's takes a strong resilience. It's actually pretty masochistic.
It's also a Catch 22: You're never going to get more fans at out of town shows, if you never play out of town shows. So you show up with bells on, hoping you're not just playing to the other band and the bass player's girlfriend.
Columbus, Ohio's Psychedelic Horseshit is one band intent on getting out there no matter what the cost.
Thankfully, the group has endured more attention the past year than the normal band, after the rise of the shitpop media focus. But hype only goes so far. This band loves to perform and it shows on stage.
"I'm not sure how the recent 60 cent (gas) hike will fuck us," bandleader Matt Whitehurst said. "I don't know. I guess we tour to keep it going. If we stopped we'd be just another random bedroom/basement recording document #183; and don't get me wrong there's nothing wrong with that, but we like to play shows and we like to travel."
The group has been all over the country and is currently heading out for another tour of the west.
"Playing for the same assholes everytime in your hometown really takes the fun out of it. We usually just scrape by on tour and live relativley comfortably (food, beer, weed)," Whitehurst said. "But of course there is rough spots throughout the country. None of us have ever died or anything. You gotta be able to live like a homeless person and sleep on floors and plan for the fact that you might not make enough dough to buy weed or eat or drink tomorrow."
In other words, the group shares a sensibility of acceptance. It's a tone that I found other touring bands share as I did interviews for this article.
"It's exciting. And sure some bands definetely should not do it. But if your band is good then you will get your records put out or put them out yourself and people will read about them and buy them and you will have people at your shows," he said. "If you suck then you shouldn't be playing music anyway. I guess the nature of the game kinda weeds out the shit acts. Unless they happen to be silver spoon kids. But they'll never stop making shitty music."
So Darwinism and the romance of the road is what keeps Psychedelic Horseshit going. But what about a band that hasn't had the luxury of being amongst the "new wave" of punk?
Up in northern Ohio, Cleveland's Bears singer/guitarist Charlie McArthur said he has been thinking a lot about the very same topic lately. He is in the process of booking an East Coast tour for the band in August.
"In the past, we've toured because it's seemed like there is some demand - small though it is at this point - for us in certain cities. That was especially true on the West Coast," he said. "The best shows for us are always with bands who are our friends in other cities, or in cities where a college radio DJ has helped promote the music. Other than that, it is definitely a lot of playing to small audiences on off nights... and that can bring you down a little bit, but that's usually offset by having the opportunity to see the country and have fun with your friends on the road."
It is this shared love of travel and idealistic notion of joy in music that Bears - although drastically different in sound from Psychedelic Horseshit - share with other touring bands. But neither has really addressed the fact that it often costs more to drive to a gig than it does to get paid for performing.
"The last time we were out on the road was a year ago and gas was closer to $3.20 a gallon. I think it cost us about $80 to fill up the van each time, so it gets really expensive," McArthur said. "If the price of gas keeps going up like this, I don't think it will even be possible for us to travel very far again unless we start to get more popular. It's really a shame because playing in new towns for new kids all the time is great, but it won't be so good if we just end up losing money rather than breaking even like we have in the past."
I told him that I hate to be a Debbie Downer, but I'm starting to worry that maybe the reason so many bands become so stuck in their hometowns, is because it may not be worth it to tour anymore until they get signed to some label that will promote them.
"Well, Debbie, I think you may be right about that," McArthur said. "I don't think it's only the price of gas that is making it difficult to tour these days. Lately, there are just so many bands out there that have reached a certain level of popularity and have label support, that it doesn't seem to leave much room for bands like us - without a label - to play at most clubs. It's not impossible to tour, by any means, but it does sometimes feel like it might not always be worth it … I'm glad to see that other people are noticing these same things."
I'm also wondering if more bands ay try to go the route of getting radio airplay. It often gives bands the options of finding out where their fans are BEFORE having to tour all over the world. I hope to talk about that more in another article sometime.

Meanwhile, other bands look at touring like they are laying out a business plan, complete with numbers and figures.
Fellow Cleveland band the Dreadful Yawns is about the kick off an east coast tour. The group thankfully has the luxury of having some help from its label Exit Stencil to help cover road costs.
"We figure this three week tour will cost us nearly $1,700 in gas alone. That means we have to make about $80 a night in merchandise and door just to cover gas," bandleader Eric Schulte said. "That's not good. This time around we'll be paying for everything out of pocket. (We) come home broke to no paycheck because we haven't worked in three weeks. It's gonna be rough, but you don't get anywhere in life if you don't put it on the line every once in while. Plus we've been lucky in that our record label, Exit Stencil Recordings, gave us some money for tour support. Any little bit helps. Not to sound all motivational speakery, but you can do anything you put your mind to. We have a bunch of cool merchandise products that we are trying out. We have a new album. Plus, we've been touring and releasing albums for a few years so we have at least a little fan base."
He said Cleveland is a great town for rock and roll, but it can make a band motivated to move around.
"You can only play to the same people so many times before you start to yearn for something more. Not many bands in Cleveland book their own tours, buy their own vans, and get out to spread the gospel of Cleveland rock. If, for no other reason, we do it to get people interested in what is happening in Cleveland," Schulte said.
He said not only is their goal to promote Cleveland's music scene, but to help spread the word about Exit Stencil.
"We're extremely lucky to be dealing with Exit Stencil as our label. There is a very symbiotic relationship going on. We tour to get our name out there obviously, but we also want to get the name of the label out there. As the label gets more and more attention we get more, and as we start to turn heads the label gets some recognition. There are too many bands sitting on their thumbs waiting to get that mythical record deal. We'd rather learn to book our own tours, figure out ways to pay for it, and sweat it out. Nothing is free in this game, and the DIY ethic is a part of our very being. Besides, when we are sitting around with the grandkids who doesn't want to be able to tell little suzie that grandpa got lost in Manhattan while tripping on acid while he was on tour with a rock band 40 years ago?" Schulte said.
Good point.
He added that any band, from the smallest indie, to the local heroes or nationals, will tell the same story about touring woes.
"Tuesday nights in any midwestern town isn't gonna be pretty," he said. "All that you can hope for is that for every night you play to the bartender in Des Moines, you will play for a hundred people in Chicago. It's 20 percent planning, 5 percent promotion, and 75 percent luck. Plus, if you've been lucky enough to meet some really great bands in other cities then you are ahead of the curve."
Cincinnati's Buffalo Killers helped me out with an interview back in April 2007, in which they touched upon their ability to tour as an underground Midwestern indie band. Since then the group has skyrocketed to joining such luminaries as The Black Crows and The Black Keys on tour.
Perhaps this growth can set the example to lesser known bands that it is possible to move forward. Touring is not the dead-end road it may appear at times.
Member Zach Gabbard explained that it is all about focus.
"The band is our job. When I'm home from tour, I'm working. When I'm on the road, I'm working. It is the job you can't escape... it is with you 24 hours a day, 7 days a week," he said. "It is as exhausting as running any business would be. I think the biggest mistake most bands make is they run their band like a hobby and if that's what it is, then you don't need to spend as much time with it, but if you want to make it all work, it has to be your job - that, and have plenty of merchandise to sell on the road."

Midwest focus

Lots of stuff going on recently:

• Read this article from Tennessee on Cincinnati band Over the Rhine, in which the group discusses the death of a father and moving forward.

• The Taste of Cincinnati Festival takes place this weekend. It's a great time. Head on over to Each Note Secure for a full article on the events.

• Esquire hits on best bars
Esquire Magazine recently did a round up on the best bars in America. Check out the full listing HERE.
Ohio got attention for Andyman's Treehouse an Surly Girl Saloon.
The California Clipper got the nod in Illinois.
The Red Key is tops in Indiana.
Iowa was noted for its Royal Mile and the Red Monk bars.
The Old Seelbach Bar stood out in Kentucky
Miller's Bar and The Bar at Seldom Blues won out in Michigan.
The Bulldog NE won in Minnesota.
Pennsylvania's Friendly Lounge was a focus.
The Silver Dollar Tavern was touched upon in Wisconsin.

• Indiana's Midwest Music Summit back on?
Just saw this article promoting the 2008 Midwest Music Summit, HERE

• Detroit's Electronic Music Festival kicks off
Read all about that HERE

• Mike Breen does a nice review of Cincinnati music/violin sensation Peter Adams and his new CD "I woke with planets in my face." Read the whole review: HERE

• Oh yeah, you got this Shitgaze article in the recent Spin too, which I took from the Donewaiting.com boards. If you click on the photo it gets big enough to read:

Wait for it...

Stay tuned. I have a nice article I've been working on for the past week coming. Plus a new interview.

• Check out links to Donewaiting for info on Times New Viking getting robbed and their performance at daytrotter.com. Both are in the links to the right.

Chicago's dilemma

That ordinance to force promoters to essentially pay to play, has been put on hold. I attribute this to the amount of hairs raised over it amongst the music-loving masses. But this ordinance should be easily stopped. All it really takes these days to stop ordinances is to gather a few folk and hit city council with a little fire and brimstone. But you'd better damn well be right. That's also key.
I'd say this was done and then some.
Here's a full story and interview, via Greg Kot at the Chicago Tribune, HERE.
By the way, why do Chicagoans continue to elect any member of the Daley family? That has been a mystery to me for years.

Spin's look back at Ohio's punk history

Love 'em or hate 'em, I saw this SPIN magazine feature on the history of punk. It's actually a pretty good read, so check it out at this link HERE

Most importantly (since this is a Midwestern-focused music site) is this section:

New York City's sister scene was, oddly, in Ohio. There were the ferocious Cleveland aesthetes Pere Ubu and drooling delinquents the Dead Boys (who eventually moved to Manhattan); Velvet Underground obsessives the Mirrors (later the Styrenes); the audience-abusing, post-glam sociopaths electric eels; and screed-heads the Pagans. In Akron, the Bizarros and Rubber City Rebels revved up a hooky buzz, and Devo's multimedia synth-punk spoofed and condemned society as a mutant production line; Kent's male-female trio Human Switchboard conjured organ-drenched drama. Also in the Midwest, MX-80 Sound's arty metallic roar and the slap-happy scuzz of the Gizmos (known for the ditty "Human Garbage Disposal") emerged from Bloomington, Indiana. Minneapolis' Suicide Commandos released their snappy '77 debut, Make a Record, and the trashy Sillies just dismayed Detroit.

I guess history repeats itself from 1977 to 2007, when Ohio's punk roots reared up its head again nationally.

Wha?

Holy shit, I just noticed this on Pitchfork Media.
Multi-instrumentalist, producer, and Bloomington, Indiana scene staple LonPaul Ellrich passed away Wednesday, May 7. A beloved member of the fertile musical community that populates the college town, Ellrich lent his touch to a plethora of Secretly Canadian projects from throughout the years, including Marmoset.
As a statement on the label website reads, "Though most knew him as an amazingly subtle and musical drummer, [Ellrich] was very much a swiss army knife. He could sing, play guitar, break out a fucked up keyboard part, it didn't matter...his primary instrument was his sheer taste in music and unending-- sometimes to a fault-- need to realize what he was hearing in his brain. LonPaul, you're brutally honest, totally endearing, and always inspiring, we'll miss you."
Friends and fans wishing to share their own take on Ellrich's legacy can do so via a website set up in his honor.
Pitchfork link:HERE.
I first came to hear about Marmoset through Chris Fry of Margot and theNuclear So and Sos.
No, I don't know how he died.
Legacy Web-site: HERE

Bar None

First I heard it, then I read it officially on Buddha Den. The Nite Owl has officially closed.
But here's some more info from BD:

...after more than 25 years as a jazz, blues, reggae, and underground rock hotspot, the Nite Owl has officially closed today. We understand that the building will be closed for renovations over the next couple of months and will reopen as Blind Bob's. For now, all shows have been cancelled. If you had a booking, we would recommend contacting the person who set up the show to see if it may be moved to another venue.
So long, Nite Owl....

I guess the only problem is that if your band has been booked for this month, my guess is you're screwed. Maybe the shows booked with some time to spare may have a chance to find another venue.
But if there is one thing I hate it's when bars give the ol' Fuck you to shows booked. Didn't this same thing happen when Elbows closed, or am I confusing cities?
If I'm wrong and some other bars would like to step up, please send me a message, I'd be glad to act as some kind of liaison.
I'm starting to notice a definite trend across the Midwest. Unless your bar is rock SOLID, you're screwed. Unfortunately for Nite Owl, it was a cool bar, which just suffered a lot by alcohol complaints.
I guess I have to say viva Oregon Express!
But for some Dayton folk, only one good bar in the historic district is kinda scary.
It's like a small town losing all it's antique stores.

Times on Tour

CMJ writer and Columbus, Ohio ex-patriot Eric Davidson posted this info about Times New Viking's summer tour:

This is what you call the high times for Columbus, Ohio's Times New Viking. Aside from releasing their debut for Matador (and third proper album ), Rip It Off, last January to copious praise, the mega-fuzzy pop trio has since toured with Super Furry Animals and are currently running around Europe hitting the bigwig fests like All Tomorrow's Parties in the UK and Primavera in Spain. Then they'll be back in the States to show off some more youthful chutzpah, wowing crowds at the Siren Music Festival at Coney Island and the Pitchfork fest in Chicago. We're guessing that their show in Visalia, California, at Howie And Sons Pizza will probably be the best gig, though, because while they're moving up to the big stages or playing high falutin' joints like the Whitney Museum, it's best to see these visceral vagabonds in tight quarters that hawk cheap beer.

Tour Dates For Times New Viking:
06/04 - Bloomington, IN - Waldron Art Center
06/05 - Omaha, NE - Waiting Room
06/06 - Denver, CO - Larimer Lounge
06/07 - Salt Lake City, UT - Kilby Court
06/09 - Missoula, MT - Badlander
06/10 - Seattle, WA - Neumo's
06/11 - Portland, OR - Doug Fir
06/13 - San Francisco, CA - Bottom Of The Hill
06/14 - Visalia, CA - Howie And Sons Pizza
06/15 - Los Angeles, CA - The Echo
06/16 - Los Angeles, CA - The Smell
06/17 - San Diego, CA - Casbah
06/18 - Tempe, AZ - Modified
06/19 - El Paso, TX - Hush Gallery
06/20 - Austin, TX - Emo's
06/21 - Dallas, TX - Club Dada
06/22 - Memphis, TN - Hi Tone
06/23 - Atlanta, GA - The Earl
06/25 - Washington, DC - Rock N Roll Hotel
06/26 - Philadelphia, PA - Johnny Brenda's
06/27 - New York, NY - Whitney Museum
06/28 - Providence, RI - The Living Room
06/29 - Boston, MA - Great Scott
06/30 - Montreal, Quebec - Divan Orange
07/01 - Toronto, Ontario - Horseshoe Tavern
07/02 - Buffalo, NY - Big Orbit's Soundlab
07/18 - Hoboken, NJ - Maxwell's
07/19 - Coney Island NY - Siren Music Festival
07/20 - Chicago, IL - Pitchfork Festival

Spotlight: WAX FANG of Louisville, Kentucky

I've been holding off on posting much lately, in the effort to focus more on cities outside of Ohio. You have no idea how difficult this has been.
Fortunately, my newest "Spotlight" edition focuses on what is sure to become one of your new favorite bands.
Louisville-based WAX FANG caught my ear a few months ago. I'm not even sure how - maybe it was Myspace.
I was immediately struck by the band's unique take on rock. In fact, I read someone who called the music "catchy and surprising." I agree with that.
The music is extremely alive, powerful and invigorating. They have equal parts psychedelic and glam counterparts, but take new twists in dimension with added sounds controlled through loops. The process of recreating the layered and instrumentally diverse tracks was aided by band-mate Kevin Ratterman’s engineering know-how and provided the effects and MIDI triggers needed to reproduce a bigger sound with three players. The theremin is also used to a pleasurable affect. The group is rounded out by bass player Jake Heustis
You hear this shit and you cannot believe it's created by a three-piece. Case in point, give a listen to the tune "The Doctor will see you now," on their Myspace, which is the tune that instantly made me a fan.
I'm very interested in bands that are taking traditional genres (in this case psychedelic rock) and taking it in new directions. It's not as easy as you might think. Bands have been exploring the depths of psychedelic rock since the 1960s.
Wax Fang recently released it's second CD called La La Land to great reviews. Buy it HERE.
A lot of interviews also focus heavily on the fact that singer/songwriter Scott Carney went to high school with fellow Louisville musician Jim James, of My Morning Jacket.
More importantly, I have been wanting to focus on Kentucky and Wax Fang was the first step in that direction.
Carney recently helped me out with an interview to start off the entire process of looking into the music scenes of our "southern" Midwest brethren. It's a whole new link into the Midwest mind-frame.
PEOPLE WITH ANIMAL HEADS: What are some bands from Kentucky that you think more people should know about?
SCOTT CARNEY: Off the top of my head, check out the Slow Break, the Photographic, Pokey LaFarge, the Fervor, Lucky Pineapple, the Phantom Family Halo, Venus Trap, and Whistle Peak.
PWAH: What are some cities in Kentucky, besides Louisville that are doing interesting things...
SC: Other than Lexington, which has a great little music loving community and is home to one of our favorite places to play, the Dame (which, sadly, is closing its doors in June), the only place I can think of is Whitesburg, KY, home of the Appalshop media arts co-op. Check it: www.appalshop.org.
PWAH: Where did you guys grow up and how do you think that has defined your personalities or the type of music you make?
SC: I grew up in a part of Louisville called Hikes Point or, la Point, as I like to call it. "Viva la Point!" I tend to exclaim. There, I was introduced at an early age to the glory and splendor of 1980's hair rock and heavy metal, which made for an easy transition, via hardcore and punk rock, into the post, progressive, and psychedelic rock music that accounts for most of what I listen to nowadays.
PWAH: Historically, what do you think defines the "Louisville sound" or even if you want to look at it from a wider aspect of Kentucky's sound. Ohio is sort of known for deconstructing rock. Indiana seems focused on a more psychedelic folk sound.
SC: I don't necessarily believe that Louisville has a particular sound anymore. In the nineties, the music scene was dominated by a lot of hardcore and post-rock type bands, but there really hasn't been that kind of solidarity since then. Lately, Louisville seems to be suffering from a sort of multiple personality syndrome, in that it lacks a certain singular musical identity. There really aren't two bands that I've heard that really sound the same, which I find exciting because there is lots of very good, very different bands doing their own things, creating their own unique identities. So, that is to say, your guess is as good as mine.
PWAH: When you guys write your songs, is there anything you're trying to convey in terms of theme, or even atmosphere? I guess that is a more complicated way of asking what you guys are hoping to accomplish or say...
SC: I would like to think that our main focus as a band is to explore new frontiers in the realm of rock music. However, so much exploring has already been done in the past, that I feel what we do would more akin to maintaining those far reaching boundaries than expanding them. In that sense, I might consider us more like guardians than pioneers. Rock music has so much potential, creatively speaking, in that as long as there is something that grounds the listener to earth, usually through the rhythm or the vocal melody of the song, you can take it in so many different directions. You have to be careful, though, in choosing your direction, that you don't lose your listener along the way. In the words of Brian Eno, "it has to be seductive." It has to appeal to the emotions as well as the intellect. This is why math rock doesn't do much for me. It has no soul.
PWAH: I always like to ask a band about their experience as a Midwesterner. Is it something you feel a kinship with? How has being from the Midwest defined your music?
SC: I feel like less of a Midwesterner than a Southerner, yet I don't feel much of a kinship with either. Both Southerners and Midwesterners, in a very general sense, tend to be more sheltered, uncultured even, than our neighbors to the North and West (and certainly more so than our European counterparts) resulting in a sort of closed mindedness that I don't relate to. Having said that, it is that very narrow minded world view that I've sought to expand in in my music and is what drew me to the psychedelic movement in the first place: the idea of expanded awareness. For me, it is less about mind altering drugs than it is about opening your mind to new ideas and concepts, for seeing the potential in all things.
-------------------------------------------------------------
In some other tidbits, in case you were wondering what Scott's least favorite songs to take LSD to are, here's a little interview he did with You Ain't No Picasso, HERE.
Here's a nice quote I found from Ratterman too. It's true of most of the Midwest:
“People in Louisville play music because they love it. You know you’re not going to make any money anyway,” says Ratterman.

C. Spencer Yeh in NY Times

Just saw that Cincinnati avant garde musician C. Spencer Yeh was featured a bit in the May 11 New York Times:

Burning Star Core

The young violinist and electronic musician C. Spencer Yeh has worked in noise-improvisation contexts, with people like Thurston Moore and members of Wolf Eyes and Hair Police. His own continuing project — in which he plays pretty much everything — is Burning Star Core, and “Challenger” (Hospital), the new Burning Star Core album, is noisy but often very pretty, anchored by drones. (An exception is “No Memories, No Plans,” which has no drone: it sounds like a brush fire in an empty gymnasium.)
It’s hard to get a bead on what’s making these roaring, overdriven, scraping sounds: not necessarily the violin, not necessary keyboards. The only clues are the credits given to other people (guitar on one song, harmonica on another) and the title of one dense and spooky but mellifluous track: “Mysteries of the Organ.”
Full Link: HERE

Midwest focus

As much as I love to give Pitchfork Media shit about not covering the Midwest, I have to admit it's done a better job lately.
First it was a ton of coverage for Columbus, Ohio's Times New Viking, then it was a nice article on PWAH favorites and Athens, Ohio band Southeast Engine, then it was a surprising article on Dayton's The Gluons (PWAH and The Buddha Den seemed to be the only ones giving them love before that) and then when I was looking for the Gluons write-up I noticed that Pitchfork also gave some attention to Cleveland, Ohio with a write up on Mr. Gnome and the duo's tune "Rabbit."
I got my eye on you Pitchfork.

Midwest Alerts!

• Kelley Deal has a nice interview with this St. Louis music reporter, which focuses a lot on Midwest stuff, read that HERE.
• Here's an interview with Hot Chip in which he discusses a bit why he's avoiding the Midwest this time around.
"It's tougher to get the audiences in the Midwest" - Hot Chip
• Two white dudes who do hip-hop as ABiCA at Northern Illinois University in DeKalb, Ill. are set to open for Kanye West when he hits their town. Read that interview HERE.
• This was a pretty interesting read in this Novia Scotia paper. The keyboardist for Queens of the Stone Age is a Detroit native who was in The Waxwings and also tours with The Raconteurs. I liked the Waxwings.
• Chicago's The Prairie Spies, on Comptroller Records, has an album coming out on Friday, May 16th, with a release party at the Empty Bottle in Chicago. The album is called "Surplus Enjoyment." "It's loud and boisterous and fuzzily home-recorded. We're quite proud of it." On initial listen I hear some 90s guitar tone influence, circa Dinosaur Jr. with a touch of new noise pop elements. They actually remind me a little of Columbus, Ohio's The Kyle Sowashes, with a lot more guitar solos. Some of the other tunes are bit more off kilter tunes in a similar mode, but with interesting tweaks to their overall plan.
• A few folks from Cincinnati, Ohio started this new magazine called Tracer, you can check it out oline HERE. I'm excited because they seem to have the intent to focus on Midwest music coverage. But then I see a ton of reviews and commentary on national bands like Band of Horses. I call for more Midwest and less of the rest!

Spotlight: Dayton/Columbus band MOON HIGH

I've seriously been trying to NOT do as many features on Ohio bands, since this is a Midwestern music site, but I can't help it they are always the first ones done with their interview questions!

Anyway, some bands end up getting hype heaped on them because they know people who know people.
I hate those bands.
Other bands end up getting hype because they are creating interesting music, doing as many shows as they can, and show off a unique voice that people just can't help but talk about.
Such is the case with Dayton/Columbus band Moon High. Combining visual elements in their stage shows and tapping into a unique blend of psychedelic folk and indie pop, the band is superb. Relaxed vocal deliveries, banjo, cello, acoustic guitars and a delicate use of drums coming in and out.
Moon High consists of Ryan Wells of Dayton and Columbus musicians David Fowler (also of Heavy Mole) and drummer William Jankowski (also of Church of the Red Museum).
Wells recently took time to answer some questions I had...

PEOPLE WIITH ANIMAL HEADS: One aspect I've enjoyed about your band, other than the music, has been the visual elements of light circles you guys use. What brought that on?

RYAN WELLS: Well, David and I had discussed at great length what all we wanted to incorporate in our live performances well before we started playing out, and lighting was one of the first things that came to mind. We just felt it would enhance the overall experience for the audience to have some visual stimulation that coincided with the audible stimulation. Really turn it into a “performance” rather than a “show”. I think we both agreed that lanterns would fit the mood of our music because they give such a diffused, almost eerie, glow when put through a dimmer; and the banjo light being a stark cold blue was a nice contrast. The fact that they are all circular glowing objects tied it together nicely, especially with the name Moon High. It can be a slight inconvenience setting them up at every show, but the response has been encouraging enough to keep them as a staple element in our live performances.

PWAH: In Ohio it's getting more and more difficult for quieter bands to get an audience, because every city is so stuck into this full-on rock mind frame. I really appreciate scene diversity. That's why it has been nice to see the Moon High name getting passed around more frequently. But have you encountered this dichotomy of having to compete with sheer volume?

RW: Much to our dismay it has been very difficult to battle the sheer level of noise created by people just hanging out in a bar. It’s different from club to club, depending on how elaborate of a sound system they have, but it didn’t take long for us to realize that quieter environments (i.e. house shows or gallery shows) are much more conducive to what we play. You can’t always pack as large of an audience in a basement as you can in a bar, but at least you know that everyone is there to listen to the music. It would be nice to find more places like Skylab, in Columbus, that do produce really good turnouts for quieter bands; but we’ll just have to wait and see if the Ohio music scene starts to shift its ways from the rock and roll mind frame a bit.

PWAH: Describe the Dayton/Columbus connections. I think your other guitarist is from the band Heavy Mole, if I'm not mistaken? How has the helped or hurt you being split between cities?

RW: You are not mistaken. David (guitarist for Moon High and drummer for Heavy Mole) does live in Columbus along with our drummer Bil (who also plays in Church of the Red Museum); while I reside in Dayton. David and I became friends while I was living in Columbus a few years back, but the idea for Moon High didn’t come about until around a year and a half ago when I approached him about possibly working on music together through email. As we grew more and more interested in what we were making musically, the idea of becoming an actual band evolved, despite the long distance. Sadly I’d say there is little to no benefit that comes from us living almost 100 miles apart. I drive to Columbus pretty much every weekend and David drives to Dayton pretty much every Tuesday, so with the insane cost of gas and the almost overwhelming waste of time spent driving, it can put a strain on us. However, we stay surprisingly productive for all the hurdles we have to leap and have such a genuinely enjoyable time being in this band that it’s really a small price to pay in our eyes.

PWAH: I really like to focus on the aspect of Midwestern music on my site. How do you think being from the Midwest has influenced your music?

RW: It’s hard to say really. I think the most direct Midwestern influence would be the strange balance of desolation and urbanization that we live in. There are some bigger cities in the Midwest, but they are always surrounded by so many small towns and communities that are, for lack of a better description, very Midwestern. It’s sort of like being in the South and seeing these places that could ONLY be in the South. There’s definitely a unique feeling when you’re planted in Midwestern rural areas, and I think that whether it’s intentional or not, it comes through in our music.

PWAH: What are some midwestern bands you like right now that you think other people should know about?

RW: I would certainly recommend to anybody who hasn’t already heard of Buffalo Killers to check them out. They have a new album coming out in June that is going to be really amazing. I’ve also been into Time and Temperature (no on-line presence, despite many efforts to get her to) and Jordan Hull lately; as well as Southeast Engine and Gretchen King.

PWAH: Tell me a bit about your CD, any lyrical themes you delve into and what your plans are right now to get the word out on it.

RW:The album is self-titled and was hand made in a small run of a little over 100 copies. We wrote, recorded, and produced the album over most of 2007 and are currently selling it at shows and on our website (www.moonhighmusic.com)
I feel that David and I have both brought somewhat different lyrical themes to this record, while managing to find a common musical ground.
My songs tend to touch upon somewhat fantastical situations that attempt to give a message of creating balance and understanding; while David’s are more centered upon personal reflections of real people, but written in a poetic sense that can be universally understood.
At the moment we’re trying to play as many shows as possible to support the album and have just recently started looking into contacting some labels about the possibility of putting out an official version (hint to any label that might be reading this).

All Hail Captain of Industry

In another nice move for Columbus label All Hail Records, they can now claim Dayton, Ohio super group Captain of Industry among its roster of experimental indie pop bands.
At first it wasn't clear to me what direction All Hail was going with its choices, but it has lately become a hotspot for off kilter indie pop. Like I said before, there are virtually no labels that will give indie pop bands a chance these days. But if you play punk, labels will track you down like drunk blondes.
From label co-founder Tony Clark:
All Hail Records has just signed Dayton, Ohio's Indie pop-rockers, Captain of Industry. The band spent the end of 2007 recording their new record in New York, and will be releasing it this June to coincide with their summer tour. The record is a natural extension of Captain of Industry's sound, mixing indie rock, pop songwriting, and just the right amount of experimentation to keep everything sounding brand-new. They've also recorded enough new material beyond the album for an EP that will hopefully see the light of day later in 2008 either from an official release or a free download. With all the new material and summer and fall touring plans, 2008 is looking to be a busy year for Captain of Industry.
"We're very excited about this deal," he said. "Their will be a full tour, including many Ohio dates and a radio promotion campaign."
In addition, he said to celebrate the release All Hail Records is going to press "a compilation that will feature 4 songs from Captain of Industry (two of those songs are previously unreleased material). The new comp will also have new songs from Take no Damage, Proper Nouns and if we are all lucky Paper Airplane."
• In other All Hail Records news, Friday, May 2nd is the official release date of The Proper Nouns' new album, "A Million Hurtful Things."
The record continues down the path started on the band's last record, "Birds and Butterflies", which was released by the quintessential Columbus indie label, Columbus Discount Records.
"A Million Hurtful Things" is full of The Proper Nouns' trademark brand of fuzzy pop, exploring elements of 60's British rock, pop, and psychedelia, which is channeled through a bouncy rhythm section, a mix of gauzy organ and guitar, and eloquently constructed vocal lines. All of this comes together to create a true pop masterpiece.
The band will be celebrating " A Million Hurtful Things" with a release show on Friday, May 2nd at Café Bourbon Street (2216 Summit Street, Columbus, OH). Filling out the bill will be RTFO Bandwagon and Heavy Mole. You can listen to songs from the new record on Myspace at www.myspace.com/thepropernouns and on our website at www.allhailrecords.com.
Look for the record on sale at local record stores and online at www.allhailrecords.com on Friday, May 2nd.
From what I've heard from the new Proper Nouns CD, this release has some of the band's best tunes yet. Really well-done stuff.

Poor, poor McCain

Way to take a stand, McCain!
Four fucking years too late, douchebag.
Why, next thing you know he'll be taking such wildly political stances as speaking against child prostitution or denouncing things like rape.
Republican presidential candidate John McCain was sharply critical yesterday of what he called the Bush administration's disgraceful handling of Hurricane Katrina and vowed, "Never again."
McCain, putting some distance between himself and President Bush, said if he had been president during the 2005 catastrophe he would have immediately visited New Orleans after the killer storm.
While he said he was not being critical of Bush for not visiting New Orleans, "I'm just saying I would've landed my airplane at the nearest Air Force base and come over personally."
Two days after the hurricane made landfall in August 2005, when immediate recovery efforts were chaotic, Bush surveyed the damage during a fly-over in Air Force One while returning from a trip to the West Coast.

Come to think of it - two days? I remember it was more like five days before Bush got off his fat ass and took a look down south at his wet pants.

Full link:
http://www.boston.com/news/nation/articles/2008/04/25/mccain_criticizes_bush_for_slow_response_after_katrina/

Tony Fitzpatrick - Chicago

A few people have been asking me lately about the artwork I use on the People With Animal Heads myspace page.
Example:

It's by a Chicago artist named Tony Fitzpatrick, who I discovered one day a few years ago while randomly doing image searches for animal drawings that have people with, um, animal heads.
Oddly enough, I discovered one of my favorite artists ever. He's got a ton of great ideas and you can learn more at his web-site www.tonyfitzpatrick.com.
Of course, I'm 99 percent sure he has no idea this site exists or that I flamboyantly display his art on Myspace...

Back at it!

Good news out of Cincinnati these days.

First off, PWAH favorite The Heartless Bastards are headed back to the studio in their follow up to the stunning "All this time."
Here's the Myspace note from Erika:
Going into the studio to record the follow up to All This Time with producer and native Cincinnatian Mike McCarthy (Spoon, Trail of Dead). Can't wait for you to hear it, and to see you all this fall on the road.

As if that wasn't good enough, another PWAH favorite The Sheds announced they have been writing new material and will be off its self-induced hiatus by the fall.
That's not soon enough for me...

REVIEW: Fake Fictions: Krakatoa

There's nothing I hate more than when a music site promises to write about a band's new release and then doesn't. I have made this fatal error.
So tonight I hope to reclaim my honor by mentioning the latest effort from Chicago's The Fake Fictions.
In essence, this band is exactly why I started this site. I wanted to find music that represents no boundaries. I have said many times that being a fan of independent music should not be about liking one genre. It should be about appreciating all genres enough to have the balls and the ability to do something unique with it.
That's why I have been enjoying Fake Fictions new release Krakatoa. I swear I have heard this band before, and now I'm starting to think I saw them live at some point. I think that's why I remember them, because they sound like they'd be fucking great live.
They find a way of combining the best of Television-style guitar focus, with retro-girl group drum beats and excitable vocals that seem to be a cross from the 80s and today. But when you jumble it all together into individual songs it's incredibly fun too. For an example of this in detail just check out when the band attempts to sing the vocals through what seems to be entirely through the room mics on "Which Witch is Which."
What I'm really digging on are the twin guitar solos that weave throughout everything they do. It really makes their work stand out. I just love the mechanics involved in "(I cannot get any) Satisfaction." But when those twin guitars are adding to the singers its bliss.
Now, there are 14 songs on this thing, so I obviously don't have the time to talk about ever damn one. Instead, give it a listen for yourself at http://www.autraumaton.org/comp/krakatoasampler.swf. The whole CD is streaming for you there.
If I had anything negative to say, it would be about my longtime hate/hate relationship with surf music. I can tell that this band has more of a love/love relationship with surf music. That's cool. Thankfully, they spend 90 percent of their time trashing the image of surf rock into something fresh and new, and then spend 10 percent of the time celebrating it.

Midwest Alerts!

• If you're into the heavy stuff. Here's a link to Pitchfork interview with Dead Child's David Pajo (Slint, Tortoise, Zwan), who apparently lives in Columbus, Ohio despite the band being primarily from Louisville. Read that, HERE.
• The Daily Iowan reports about the American Indian's historical presence in the Midwest and how perhaps it's not as talked about or displayed as much as it should be, HERE.
• Here's a Business Week article with Pitchfork founders on the Pitchfork.TV thing, HERE.
• Columbus, Ohio's El Jesus De Magico? There's an interview with the band on the Ohio State University's Lantern, HERE.

EARTHQUAKE!!!!!

The television news is all a-flutter today.
The Midwest got an earthquake in southern Illinois.

Blackout Fest XIII (Ex Eye Eye Eye)

From the Athens Post:

As much as I'm hoping Athens sees a kind of rebirth of great bands, I want to shine a light on an upcoming festival. A year ago I did an interview with Blackout Fest organizer Scott Winland about his show. I think the link is to the right in the "Best of PWAH."
But it's back again. Read on, little reader:

While some consider 13 an unlucky number, to Scott Winland, organizer of Blackoutfest XIII, it’s a testament to the prosperity of a lasting underground music festival.
“(Blackoutfest) is always a success. It started as a one night, local show and then it evolved into a two-day event and then a three-day event,” said Winland, who runs Blackout Booking.
Blackoutfest kicks off at 6 tonight at The Union, 18 W. Union St., and features more than 30 bands, from local bands like The Makebelieves to the premiere of RIBS, a “supergroup” of underground musicians, during its three-day run.
The fest has become so synonymous with its venue that Mishka Shubaly, who will open the fest tonight with a solo set and later play in the New York-based band RIBS, said he contemplated getting a tattoo of The Union’s address last year.
“The only reason I didn’t get it was because I partied so hard that I didn’t make it out of bed until five — maybe this year though. People don’t always appreciate what a cool scene The Union is,” said the four-year festival veteran.
The Union is currently undergoing renovations to its downstairs bar, but did not close completely and is keeping its place in the local music scene, Winland said.
It’s incredible that a venue in a small town like Athens will continue to be known nationally as a place for underground touring acts to play, he said.
“I’ve toured in 40 states, and The Union’s my favorite club to play. In New York, people stand at club shows with their arms folded, texting or chatting at the bar,” Shubaly said. “But here, if it’s good music, people get into it and dance.”Blackoutfest has gained a reputation not just for its Athens atmosphere, but also the quality of acts that are broughtin to play.
“It’s the premier music festival in terms of underground music, and The Union is one of the best conclaves for underground bands in the Midwest,” said Chris Corbin, an Athens native and a member of the Dropdead Sons.
Some of the bigger names at this fest are Greg Cartwright, Kurt Vile and the Terrible Twos, Winland said. The Terrible Twos will close Blackoutfest late Saturday.
“(Blackoutfest) is about getting sweaty and touching people — that’s rock’n’roll,” Shubaly said.
Tickets are $10 for each night, or $25 for a three-day pass.

Midwestern Links

• I share a very similar taste in music with the people behind Aquarium Dunkard, which is why I probably like the site so much.
All the more reason, they published a nice article, with MP3s and video, on Guided by Voices.
Check that out, HERE.
• Mike Breen, Cincinnati music critic, reported that the Cincy Punk fest raised $6,000 over two nights for Alex Brauer, the former drummer for Lions Rampant, who has been battling testicular cancer. That's pretty amazing and hopefully will provide Brauer and his family was some monetary relief.
When I hear of people battling cancer, I honestly become pissed off these days because our government is set up to make their lives even more difficult. Prescription pills costing them hundreds of dollars a bottle, doctor visit co-pays, overnight hospital stay costs, etc. Will this country ever move forward and let these people do what they need to be doing: Focusing on recovering and beating their illness?
To the folks who organized the festival, it was touching to see it focused toward an individual the performers knew. I imagine that must have made for some inspiring performances and energetic crowds.
• Chicago's The Smoking Popes will be releasing its follow-up to 1997's Destination Failure on June 7th. It's called Stay Down and will be celebrated with a release party at The Metro. New songs are also available on their link.
• "A Skin, A Night" is a new movie by director Vincent Moon about former Cincinnati's truly exceptional The National. The film was made during the recording of the band's latest album "The Boxer" and is about the modern experience of making music. The film comes packaged with an EP called "The Virginia."
• I heard he still lives in Minnesota on a ranch, so I think I can consider Bob Dylan a fellow midwesterner. Word is the recent Pulitzer Prize winner will follow up his critically acclaimed autobiography Chronicles with a children’s book called "Forever Young." The forty page picture book is due to hit shelves October 6th.

Cincinnati's Buffalo Killers announce tour/new CD

Check it:
We are very proud to announce that Let It Ride, our new album produced and recorded by Dan Auerbach at Akron Analog, will be released July 8th, 2008 on Alive Records. The first 500 copies of the vinyl will also include a 6-song live bootleg from our show with The Black Crowes at The Orpheum Theater back in October. For a preview, check out the free download of Homegrown on our myspace page.
We'll be hitting the road in May with The Black Keys (dates below).

MAY
May 12 w/The Black Keys @ 9:30 Club :: Washington DC : All Ages
May 13 w/The Black Keys @ 9:30 Club :: Washington DC : All Ages
May 15 w/The Black Keys @ Terminal 5 :: New York, NY : 16 and up
May 16 w/The Black Keys @ The Electric Factory :: Philadelphia, PA : All Ages
May 17 w/The Black Keys @ Orpheum Theatre :: Boston, MA : All Ages

Athens, OH. 2008 update A discussion with Donkey Coffee booking agent Leo DeLuca

So today I would like to talk about the Ohio city of Athens.
This also reminds me that I have been meaning to go through those City Features (to your right in the links) and update them all. It's been more than a year now and a lot has changed overall across the Midwest. We've had a ton of attention, but mostly because the bands moved to New York.
Back to Athens: I'm worried.
Lately I have been feeling as though the city is losing it's charm of irony that used to permeate everything it stood for. At one time - even last year - you could go out for a night of music in Athens and catch numerous folk bands, a few of what I like to call "I Don't Give a Fuck Punk Bands," some singer-songwriters, some loud roots rock, and you'd be hard pressed to not have a good time.
It just seems like the amount of bands coming from Athens is slowing down. Too many are disappearing. So what is happening is the "I Don't Give a Fuck Punk Bands" are filling every slot.
For those who read PWAH on even a mildly regular basis, you'd know that I love punk music and I love pop music (roots pop, not Brittany). I even like avant garde experimentalism. But for some reason I hate "I Don't Give a Fuck Punk Bands."
Maybe it's because they symbolize the utter lack of creativity that punk music slowly became. Maybe it reminds me of Columbus' Bernies at its worst in the late 1990s. It's just that I would AT THE VERY LEAST like to see a band think about what they're doing. Maybe even once. They could be stoned at the time. I will allow that. Maybe they will forget it an hour later. But as long as they HAVE thought once, I'm fine with it.
Maybe the one thought that glanced their brain was incomprehensible? Sure, that counts too.
So I recently had a discussion with Leo DeLuca, drummer of Southeast Engine and also current booker of Donkey Coffee in Athens. It was recently named "Ohio's Best Coffeehouse" by Ohio Magazine. The bar is looking to embrace the culture of Athens that seems to be falling by the wayside. It's trying to cultivate a venue where people go to actually hear music. Nothing more and nothing less. We're not talking about creating a scene. We're not talking about wearing huge glasses like Cheryl Tiegs and shopping at American Apparell, then standing next to a wall. We're just talking about music.
DeLuca explains that Donkey Coffee has become a haven for stripped-down folk and rock music. Rock bands are encouraged to play acoustic, with brushes, etc. The venue has hosted shows by Jorma Kaukonen (of Jefferson Airplane), Jonathan Richman (of The Modern Lovers), Sam Rosen (Vampire Weekend's touring buddy), Nat Baldwin (ex-Dirty Projectors), White Hinterland, Deer Tick, his own Southeast Engine, The Black Swans, and more.
"Shows at at Donkey are the antithesis of your typical rock concert. Listeners are very present and attentive, rather than distracted and loose-lipped," DeLuca said. "As a whole, people are there to focus on the music, rather than focus on what the person next to them is wearing, who's doing what after the show, etc. It's really nice to offer that to musicians. Obviously, performers long for their audience to listen. Amps are often cranked at rock shows to drown out all the yappers. Donkey provides an environment where musicians can play quietly and people will still listen. It's really nice."
DeLuca also commented on my worries about Athens' ironic culture being lost. It used to be the place that defined the granola hippie, co-mingling with the Charles Manson hippie of anger and the hipsters, alongside the college-aged baseball cap douchebag. Just imagine other colleges, but more fighting, cooler people and less posing.
"I think the eclectic nature of the Athens scene still flourishes, but 'I Don't Give a Fuck Punk Music' does seem to be growing luxuriantly. Actually, it seems to be dominating a lot of Ohio right now. To be honest, I really kind of like it. When Southeast Engine was at SXSW, the Austin paper did a whole article on the Columbus "shit-gaze" scene. I was pretty proud of old Ohio," DeLuca said. "The part I don't like is when the fever spreads at the expense of other molds of music. I agree with you, punk / shit-gaze / lo-fi is great, but we definitely need variety. The problem with that type of music is that it's often very elitist and closed-off to other genres. And when it's put in a dominant position, it tends to quell the voices of artists from different strains. You don't have to play dirty or lo-fi to not give a fuck. Listen to Bob Dylan, listen to Johnny Cash. Sure, the fidelity on some of their stuff was on the lower end, however, the vast majority of their work was very put together and very accessible."
So now it's time to reasses the current Athens music scene. Are there any new bands I don't know about? How does a good touring group from Cleveland get into Athens these days?
"Athens is hungry for a new band with an amazing sound and a lot of gumption," DeLuca admitted. "My favorite in the local scene right now is this band called Silo Circuit."
But he said the band is a pretty strictly Athens, not venturing into other cities yet.
However, this is exactly what I think the town needs. Touring bands need to know that there are groups they can count on in other cities to bring the people out for them. Out of town bands are trying to build their draw and if the local band doesn't have one, it leaves them back to square one.
"They generally draw a crowd," he said about Silo Circuit, "and I'd like to see them play outside of Athens. So I'd definitely encourage trying to trade shows with them."
DeLuca said Aquabear Legion - a community network for creative people - is based in Athens as well. It can be a good source for show trading.

Random notes

• I meant to point out that our fellow comrades in arms Buddha Den (which continues to do an excellent job documenting Dayton's music scene) has released its "Buddha Den 2008 Spring Sampler," featuring numerous great local bands from The Motel Beds, to Jesse Remnant, and The Sailing.
The site also spoke a bit about the new Breeders CD "Mountain Battles" out now.
The site also has an interview with Dayton band ... excuse me while I cut and paste the band name because I know I'll spell it wrong ... Ruetschle. It's pronounced like "Richly."
• The other day I was reading Spin magazine and noticed by chance that Cincinnati-based music critic Kari Wethington was the one who wrote the nice interview with Kim Deal. Midwest represents. I couldn't find an online version of the actual article, but here's this.
• I just now noticed a total of nine pages of discussion at Cincy Music.com about the closing of The Poison Room. Another one bites the dust. But honestly, I've been to the Poison Room on many occasion and I can tell you it was always dead. It was a cool venue, with a great stage. Just happened to be in an area of town you totally had to go out of your way to get to. There was nothing around it. I compare it to Columbus venue The Basement. Both are totally out of the beaten path that music fans travel. But The Basement is helped along by getting most of the national indie acts that come through. That role has been taken up by The Gypsy Hut in Cincinnati.
• I got word from Columbus band Paper Airplane that its members are currently recording with the engineer who did the last Heartless Bastards CD. I was listening the other week when WOXY's Local Lixx program played a short acoustic demo of theirs recorded at Columbus Discount Records called "Better with Medicine." But I'm not sure the link is up yet to hear the broadcast. The band will be performing new tunes this weekend with a show in Columbus at Thirsty Ear and a show in Dayton at Oregon Express with Twin Arrows (it's debut show, made up of former Late Nite Drivers members) and current buzz band Moon High.
• The Chicago based Riot Fest announced its dates (no lineups) for 2008. October 10th, 11th, and 12th. A venue has not been announced, but in past years it's been at the Congress Theater.
• Some info on Lexington's FreeKY festival, courtesy of You Ain't No Picasso, HERE.
• By the way, if you check pretty much any link on the right, you will find a load of articles and photos on Cincinnati's Music Now festival, organized by Bryce from The National.
• Can You See The Sunset From the Southside, Chicago site announced it is going on a bit of a hiatus. Of course, then they proceeded to have two new updates. Such as some Lollapollooza line up news: 2008 lineup for Lollapalooza: Radiohead, Rage Against the Machine, Nine Inch Nails, Kanye West, Wilco, The Raconteurs, Louis XIV, Love and Rockets, Gnarls Barkley, Bloc Party, The Black Keys, Broken Social Scene, Lupe Fiasco, Flogging Molly, Mark Ronson, Cat Power, The National, G. Love & Special Sauce, Sharon Jones & the Dap-Kings, Explosions in the Sky, Brand New, Gogol Bordello, Stephen Malkmus & The Jicks, Dierks Bentley, Okkervil River, Amadou & Mariam, Blues Traveler, John Butler Trio, Girl Talk, Your Vegas, CSS, Eli “Paperboy” Reed & the True Loves, Battles, Steel Train, Jamie Lidell, Bang Camaro, Butch Walker, The Blakes, Mates of State, Tally Hall, Spank Rock, White Lies, Brazilian Girls, Magic Wands, Chromeo, Electric Touch, Duffy, Innerpartysystem, The Kills, The Postelles, Rogue Wave, The Parlor Mob, The Go! Team, Bald Eagle, Mason Jennings, Krista, The Gutter Twins, Ha Ha Tonka, Yeasayer, Witchcraft, Grizzly Bear, We Go To 11, MGMT, Sofia Talvik, The Weakerthans, Booka Shade, Santogold, Black Kids, Black Lips, Dr. Dog, Nicole Atkins & the Sea, The Ting Tings, Kid Sister, Office, The Cool Kids, What Made Milwaukee Famous, Does It Offend You, Yeah?, The Whigs, Manchester Orchestra, Foals, Uffie, The Octopus Project, Cadence Weapon, Ferras, De Novo Dahl, Noah and the Whale, Margot & the Nuclear So and So’s, K’NAAN, Serena Ryder, Newton Faulkner, (& more TBA, I’m sure).

Pitchfork TV launches

I love to hate on them, but I also like to read them.
Yes, Pitchfork Media has launched it's PitchforkTV online.
It's looking pretty good so far. Interviews and live performances - not just Jay Reatard (who, despite myself, I have been enjoying the more songs I hear by him).
Go check it out: HERE
While you're at the site, also check out some coverage of Cincinnat's MusicNOW festival which happened last week, HERE

Midwest Alerts!

• The I Remember Dayton site has a nice bit on the possible sale and liquidation of Antioch College. That would suck. Misguided hippies or not, the college is an institution of a liberal top notch education. Dave Chapelle may end up living in the middle of nowhere, if that college dies. Read the article in the Dayton Daily News HERE and read IRD site's article HERE.
He also has a bit on a Dayton Musicians Co-op. Not to be a debbie-downer, but I just have never really liked the co-ops in any city. They always talk a big game (insurance for musicians/recording money for charity projects/etc) and all that happens are gigs twice a year in which bands give their hard earned time and energy so the co-ops can make promotional stickers, update their web site or something lame. After years and years of shows, only piddly things ever come of them. But I have hope. Maybe they just need to organize more events aside from live shows?
• Greg Kot has a nice review of Ray Davies recent Chicago gig, HERE
• I'm not really a big fan of Cursive, nor most bands out of that whole Wisconsin hype that sprouted up years ago. That said, here's a nice article on Cursive from the Daily Iowan, HERE.
• Here's a short little interview with Leon Redbone, who is performing in Michigan, HERE.
• With music venues dying all across the Midwest, it's funny that Cincinnati's Riverbend has plans to debut a new venue. Read that article, HERE.

Philly's Dr. Dog has announced it's all set for a new CD and tour:

Hey Folks
Well the cat's out of the bag. All this time in the studio seems to have paid off and it looks as though there is a record finished.
We're gonna call it FATE and you can take from that whatever you want. We can't tell you much, but we can tell you that when we sit back and listen, we're real happy with the way things turned out.
We spend a lot of time together, maybe more than any person should spend with another, but that's not a complaint. It's to say that when you spend this much time with a bunch of dudes, you learn from one another and you learn something about yourself. Not sure what that's got to do with anything, but at the moment we listen to this record and think that all the time we spend together has as much to do with the album as anything else.
As it happens we've got a calendar full of tour dates and a heap of new songs that we're getting excited to play and in some cases.. learn to play. For now we can let you know that it's all about to creep up on you. Consider yourself warned, FATE is upon you July 22 and we can't wait to see you.

Random notes

Lots of stuff going on lately. I've been a bit too busy to bother with any of it. So here's a diatribe on all of it.
There are a ton of new midwestern CDs coming out. Hopefully I can get around to doing some new interviews with these groups soon.
In Cincinnati, there is the Music Now festival (going on all this week). Check out Each Note Secure for more info.
I've still got my eye on the Forecastle Festival and what bands will be chosen to perform. Will it be the same four Cincinnati bands that always play everything (Bad Veins, Turnbull ACs, Lions Rampant, The Read, etc.)?
Nothing against these bands - I like them too - but for god sake festival organizers there are a ton of talented bands out there.
I got a few emails from bands promoting their new CDs. Namely, The Voodoo Loons, Lonely the Seabird's very last CD, Philly's The Hermit Thrushes are going to be in Iowa City July 24 in support of new releases.
PWAH favorite's Dayton-based Squids Eye Records is releasing the new Neotropic "Whiter Rabbits" CD, and on April 29 will release the work of Jesse Remnant "The Human Cannonball" and The Gluons "Meet the Gluons."
Both of these bands are pretty outstanding. Remnant's voice is killer and his music very melodic. Something must be in the water he and his brother Rem drink back at home.
I mentioned before how I enjoy The Gluons. They seem to be Dayton's answer to the Columbus shitpop wave. But unlike a lot of the Columbus bands, you get the feeling these young dudes came up with their sound all on their own and without influence by their surrounding contemporaries. Just give them a listen and judge for yourself.
I also got an email from Chicago band The Fake Fictions, a fuzz-pop band with a new album called "Krakatoa" coming out on Comptroller Records on April 18th. It is a concept album about the world's deadliest volcano explosion and its impact on modern society. They sent me a link to hear the CD early. I still haven't checked it out yet, but I want to try and get to it today at some point.
The thing is, I have heard of this band before. So my guess is that I liked them before, if I filed their name away in my dust-rattled head. Once I give them a listen I'll post a bit about their songs too.
Other than that, I noticed some Columbus folks are having a spirited debate on Donewaiting.com about production values.
Are too many Columbus CDs "over-produced?" Is it possible for a indie band to be over-produced? What constitutes being over-produced? Does Pro-tools suck?
I can confirm that Pro-tools does suck hard. Avoid it at all cost.
I guess some people think lo-fi CDs just sound better. I can agree with this stance to a certain extent.
Take Van Morrison's "Astral Weeks." What I always liked about it is that you can hear the room the band is playing in. You can hear the music bouncing off the walls. It just makes it sound more intimate and provides a picture into the performance. There is a warmth there that was created by recording more lo-fi.
Neil Young's "Tonight's the night" record is recorded about as lo-fi as it got back in the 1970s. Yet it's clean and pure. Is that over-produced by today's standards?
Then you got other CDs that sound as if the person is singing into a digital microphone. It just sounds dead and lifeless because they are trying too hard to make things sound clean and clear.
My feeling is that it doesn't matter how something is recorded. You can't polish a turd and you can't fuzz out a turd into white noise and call it shitpop.
Let's face it, The Beatles "Abbey Road" is totally produced to sheer pointless cleanliness, but it fucking rocks.
Times New Viking write great songs, so does Psychedelic Horseshit and The Gluons - yet they are recorded in a haze of dirt like the Dust Bowl just exploded. But they fucking rock.
I think there is an important middle ground to look at here. A strange dichotomy exists within the current shit pop trends. Being "over-produced" is looked down upon, but isn't "production" what it is entirely based upon?
They are making CDs sound extremely lo-fi. Isn't that being "over-produced" too?
Just something that came to mind.

Oh yeah. The Ranconteurs are coming through the midwest.
Um, $30-$40 a ticket?
Great band, but fuck them.