Dayton Music

No Troubles In ‘Paradise’: An Interview with Smug Brothers

February 21, 2015 By Dayton Most Metro

Smug Brothers left to right: Brian Baker, Kyle Melton, Don Thrasher, Larry Evans (photo by Jay Woessner)

The four members of Dayton’s own Smug Brothers are hanging around Kyle Melton’s kitchen on a cold February afternoon. Inside one of the small rooms that have been designated as the office, the Beatles come blaring out of the computer stereo speakers. Deep, raw cuts, along with some of their usual hits flooded over the entire house. The group is awaiting local photographer Jay Woessner as he will be updating the bands press photos today. In only a few weeks away the Smug Brothers will be releasing their latest album Woodpecker Paradise, and the band has their hands full. After photos are taken, the band plans to practice some of the new material. Woodpecker Paradise reunites Smug Brothers with longtime producer, and former member, Darryl Robbins.

As I took off my coat, and placed it in the living room, Melton asks if I would be interested in having a beer. “We have high brow beer, and non-high brow to choose from. Feel free to pick whatever,” he says to me. I choose the non-fancy beer, which is Genesee-one of bassist Larry Evans’ favorite selections. Having known that Evans enjoys Genesse, I also have drunk the beer before and became a fan of it also. I make mention to bassist Larry Evans that he is partially to blame for my appreciation of the beverage.

“Really?” says Evans with a shocked look. I explained to him that I took a case over to a get together over the past summer. I received a mix reaction from the party goers when I arrived-ranging from some that were enthused to know that I knew what the beer was, to outright ribbing because of how cheap you can get it.

“Don’t let anyone tell you otherwise,” Evans, ever so kindly says to me with compassion written all his bearded face.

The conversation between everyone jumped around from topic to topic. Baker begins talking about a recently purchasing an amp that now has been blown out. Even though Baker claims it’s pretty old, Melton makes mention that he may know some people that could possibly repair to amp. The discussion then shifts to how the popular 80’s television show Cheers opener has a longer version to it online, and it’s actually good. Baker’s girlfriend declares that she wants to make a trip over to Ghostlight Coffee, and would like to know where it’s located.

Within a half hour or so at being at Melton’s house, Woessner comes to do the photo shoot. The first location was inside the small kitchen. Woessner flips and fluffs the curtains some to block some of the light reflected in. After the photos were shot in the kitchen, everyone is directed outside. The band stands in front of an old, decaying structure that closely resembles a barn. After the shooting of the new pics was finished, we moved downstairs to where the band practices.

As you walk a little farther into the basement area, you stumble upon the recording equipment placed on a table, with a cushioned couch placed beyond it. Stacks of cassettes are laying around behind the boards. The few demo cassettes that sit on the table are just the tip of what Melton has. He has archived most of the demos of his early bands, including a jam band he was part of in 1994-1996 titled Critical Mass. “I have hundreds of tapes of every live show we did (laughter),” says Melton. This space is also where most of the Smug Brothers are recorded. In the beginning stages of recording, Melton and Thrasher will lay down the basic tracks with demos on a four-track cassette machine, then pull from the best songs. With Woodpecker, Smug Brothers went to the studio to lay down the tracks with the whole band together for the first time as the new lineup. While the end result is a more polished album, the band’s mid-fi sound that their fans have come to love stays the same. Smug Brothers follow the Bob Pollard blueprint of quick songs but tight in structure. Much like Pollard, the finished product is also a perfect blend of catchy guitar riffs and vocals, and Thrasher’s fantastic work on drums.

The members of the band take their spots within the second area of the basement. Stone walls encase the practice vicinity, and colored LED lights hang loosely on the beams above us. The space isn’t made for tall people like myself and Evans, as we had crouch down some while walking around. Luckily for Evans, though, he has a spot where he can stand somewhat normally. After mic checks from Melton and Evans are situated, the group begins to torch through songs of Woodpecker Paradise.

Going into the tenth year of existence, it’s amazing to see how Smug Brothers have blossomed into what they are today. The duo of Melton and Robbins were in the rock group Montgomery Greene at the time when they begin what would be Smug Brothers. The plan was to be a recording band, and nothing more. The duo released their first album under the Smug Brothers moniker Buzzmounter in 2005. A couple of years later, Robbins and Melton went back to work on some new material. They enlisted a local musician to do some of the drums for the new music who had runs with legendary local bands Swearing At Motorists and Guided By Voices. Robbins and Melton loved the drummer’s style, and were eager to include him into the project. That drummer turned out to be Thrasher. With Thrasher getting involved, Smug Brothers started to take off.

Since then, the group has gone through various lineup changes, with departing members going to other projects and ventures. Jason Short, who played with Melton in Montgomery Greene, played two songs on Fortune Rumors. When the decision was made to start playing live, Marc Betts (also from Montgomery Greene) and Baker joined Smug Brothers in 2009. In 2011, Betts left the band. The group had a small sabbatical for a short time, back in 2012. Smug Brothers had recorded On The Way To The Punchline with Robbins, but the members got tied up in other things. Melton and Thrasher were heavily involved in setting up another Dayton Music Fest. Baker was playing in a couple of other bands around the area. The band’s bassist Shaine Sullivan became heavily involved with the purchasing of what is now Canal Public House. When Melton and Thrasher wanted to get the band rolling again, Sullivan bowed out. Evans hopped onboard shortly after, and the rest is history.

The week of the album release party I join Thrasher and Melton for drinks at one of our favorite meeting spots. It’s always a pleasure to sit with two of the pioneers that will be engraved in the history books of the Dayton scene. Much like the day of the photo shoot, our conversations bounce around with ease. Melton and Thrasher talk about how with the latest lineup, they feel that it’s fresh. “I feel like we are just at the tip at whatever this band is going to be able to do,” Melton says. “The four of us are at a pretty good page.”

With everyone being excited with the release of Woodpecker Paradise, Smug Brothers have already been setting their sights on getting some new music rolling. Melton and Thrasher have already laid down some tracks, while Baker and Evans are beginning to get their parts put together. Smug Brothers would love to quickly release as much material as they can. “I just want this songs out,” Melton says enthusiastically. “We can sit here and work on them, pick the best ones…do a thousand different things. At the end of the day, why? Let’s go with our gut. What sounds good? Is that right? Great. If its not, say no. Redo it.”

“We are still making up for lost time, too,” Thrasher added. “And we love to make songs. So it all feeds together.”

Like most of the times we get together, our conversation bounces around. Melton mentions that he would love to take the trip around the United States and see the open land sometime.

“Got to do it at least once, man,” Melton says.

“Probably better when you’re younger (laughter),” Thrasher quips.

“True, but you see I would have perspective, be able to appreciate it more,” Melton responds back.

Smug Brothers celebrate their latest release Woodpecker Paradise tonight at Blind Bob’s Bar. The release party will also include Human Cannonball and Forage. Show time is 9pm. 21+. Copies of the album will be available at the show.

Renaissance Man: An Interview with Singer/Songwriter Jason Trout

February 16, 2015 By Dayton Most Metro

Singer/songwriter Jason Trout, who spent most of his early days growing up in the city of Marion, Indiana, has been a pretty free spirit throughout most of his life. Without any proper training or push towards it, Trout was around eight or nine when he started writing music. Late last year, Trout released his solo debut LP Out Of My Mind And Into Yours. The album is a lo-fi indie/folksy album that was recorded in his home using a Tascam 4 track. The new album, which follows his debut EP Off The Field Issues, marks a new direction for Trout. A path that didn’t come easy.

Creating and playing music at one point was put onto the side temporary when Trout started attending Ball State University in 1995 to study law. “I went into college thinking, ‘Okay, I’ll be a lawyer. Be will be a 4.0 student’,” Trout mentions. “That’s what my mom and dad wanted.” His progression into law was short-lived, because for Trout-law was never the direction he was supposed to go. Trout switched majors, going to theater. “I didn’t think I was a good enough vocalist or guitarist to major into those,” Trout added. The musical side of Trout, his desire to create something special, was growing larger and stronger. He couldn’t accept the fact that the direction of life is headed toward a future that wasn’t thrilled about.

Between the age of nineteen and twenty, Trout finally accepted that playing music full time was inevitable. He packed his belongings and moved to Austin, Texas. “I’ll be honest with you-Austin is the only place that ever felt that I belong. Without question,” Trout said. In spite of moving to Austin, the city wasn’t Trout’s first choice. The goal was to originally move to Los Angeles. With the guidance of his college theater group, along with his love of director Richard Linklater’s work, Trout almost immediately felt at home within the city. He quickly started to develop a following with his music, and soon started to see his hard work paying off. Large record labels started courting Trout-flying him back and forth from city to city, riding in limos. A year of writing and performing included, along with the dream slowly starting to become reality-things were looking good. The payoff was coming.

However, the toll on Trout started to mount. What was slowly a dream developing into reality quickly evaporated. There was an unraveling infrastructure inside one of the labels that were interested in Trout. He also was led astray from someone, giving false hope. Around that same time span, the relationship that he is in suddenly ended. The emotional toll began to weigh down on Trout. “I wasn’t able to think straight or move correctly. My body was affected. I didn’t know what was going on,” Trout explained. With his world crumbling all around him, Trout went to get away and visit his folks, whom at the time lived in Knoxville. While we was there, he was diagnosed with having a nervous breakdown.

Even though he wanted desperately to get back to Austin, there was something that pulling him to stay in Knoxville. The decision to stay turned out to be beneficial. As the healing began, Trout spent a great deal of his time there being with his mother. They would spend every single together, catching up. Trout mentions that his mother was a key component to getting healthy again. Little did they both know, the time together would be meaningful than they could imagine. Trout’s mother was diagnosed with cancer, and passed two months later.

Trout’s time in Knoxville also got back to doing what he loved-playing music. He led the formation of his band The God Star Social. They band began playing some gigs at local clubs like The Pilot Light, Axis, and Java. After the release of their first EP A Queer Sultry Summer in 2002, the band released their 2003 debut LP Decidedly Lo-FI/Revolution And Static Sky. The album garnered national and internationally acclaim, with critics singing the praise of the band, the record, and most of all-Trout’s vision. Trout spent the next 5 years touring the U.S. as The God Star Social, both solo and with a rotating cast of musicians. He released the last God Star Social record in 2008. During that period of time, Trout met his now ex-wife during a show in Columbus. When they were married, they lived in Austin briefly before moving back to Ohio.

Although we has had to overcome some obstacles from the past couple of years, ranging from divorce and family tragedy, Trout explained that he views this time in his life as a renaissance of sorts. With the release of Out Of My Head And Into Yours, it marks the first time is releasing music under his own name. He has found peace within himself, which is remarkable considering at one point-he didn’t write a single song for years. Now, he is currently planning and prepping on new records with The Touchy Feelys, his indie vocal duo with Andrea Dawn Courts, and City Deer, his punk folk band with drummer Lucas Longanbach and bassist Chris Lute. Trout is also working on a cover album on his favorite artist, Daniel Johnston. “I never been a big cover guy,” Trout says. “These songs feel like my own, so it’s real easy to do it.”

As he sits in his home in Athens, Ohio, longer is that struggle to be happy for Trout. One main reason is what came out of his now finished marriage-his wonderful daughter. Trout beams over the phone when we talks about his deeply introspective daughter. “We talk about what she could be when grows up. I ask her what she wants to be, an actress or a doctor. She says, ‘When I grow up, I just wanna be me.’,” Trout says.

That’s exactly what the older Trout is doing.

To get a copy of the new album, click on Trout’s website: http://www.jasontroutmusic.com/

Curse of Cassandra

February 10, 2015 By Dayton937

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Left to right: Jacob Richter, Nicole Richter and Ryan Wolfe

Walking into the room we pass through a chainmail curtain into a space steady pumping with a rhythm like blood flow. The lights are blooming bursts of colors, flashes that feel like explosions of excitement. These effects catch pace, divert from, and charge against. This could have a somewhat dizzying effect if it weren’t for the fact you’re instantly swallowed up, hypnotized, lost in the music. A smooth female voice goes from whisper to pure melody. She sings against a backdrop of pounding beats and haunting synth work. The effect is alluring, disarming and entrancing. This music is often too enticing, to rhythmic, not to dance, but still manages to lose no edge from its darker undertones. It’s like dancing with the devil, you can see and feel the dark dangerous edge, but you simply can’t resist.

This band is Curse of Cassandra and believe it or not they’re from Dayton Ohio. This incredible show, and fantastic performance was in fact a release show for their new album Night. Being a local born Dayton girl myself it wasn’t too hard to hunt down this band.

Curse of Cassandra formed in May of 2013 when Jacob Richter (synths/vocals) began writing songs and discovered Ryan Wolfe (percussion/effects) through the internet. Originally playing bass on synths, Nicole Richter stepped into the role of lead vocals in 2014 to form the band that exists now.

I recently got an opportunity to speak with the lead singer Nicole Ricter. I was excited to find out exactly what inspired and influenced their music; “The music and lyrics are inspired by vampires, cyberspace, the occult and otherworldly encounters intertwined with concepts of the night and the erotic connections that may ensue.” Ricter explained to me.

With a band of such wide influences one can wonder how they developed their specific sound. “Curse of Cassandra’s sound began with dance beats and haunting melodies, and has since become bound up with the seductive undertones of steampunk and gothic aesthetics.” Ricter said.

My mind drifts back to the incredible performance I’d seen that night. I ask about what they aim for fans to experience when attending a Curse of Cassandra show. “Definitely dancing and a sense of beholding the night as a temporary time of play, eroticism and enjoyment.” Ricter said.

Night, this is the one word title of the new album. Night looms overhead, like a black sky sprinkled with stars, like the dark in which people feel unrestrained and anonymous enough to embrace their own secrete desires. This album has been made with professional care, skill and the dedication of a band who gives it their all. “The producer of our album Jason Rubal (Dresden Dolls, Amanda Palmer) flew to Dayton to spend time getting to know each of us on a personal level, listen to music and consume cinema to better understand who we are in order to create the best possible album that is an authentic representation of us. He so did smoothly and with effervescence.” Ricter explained to me about recording the album. “It differed from previous experiences in that we are an electronic band that seeks to emulate live what DJs and EDM artists do. Jason helped us create live percussion using real drum sounds that are unique to our album, and mixed in the synths and vocals with a sense of space and depth.”

Night is a beautifully constructed album that showcases very well the band from which it comes. In her own words Ricter describes the album as; “Sexy. Playful. And of course, dark and sensual.” Night is undeniably an album that showcases Curse of Cassandra at their best.

You can catch Curse of Cassandra for yourself at their upcoming shows:

Blackheart’s Ball w/Curse of Cassandra, Hematosis and Where the Nameless Dwell Friday, February 13 at 9pm at Therapy Cafe

Blind Bob’s, Friday, March 6th

Oregon Express, Friday March 13th

Grenades!?’s Debut Is Strong For A Group Stretching Their Legs For The First Time

February 5, 2015 By Dayton Most Metro

Grenades!?: Interrobang

Album Review: It feels like the phrase “stretching their legs for the first time” is a bit of an exaggeration. There’s been quite a history between lead-vocalist/keyboardist Daniel Madero and Mike Patak Jr. From Stone The Mayor Sheriffs, to Temper, Temper, Temperature (At The Drive-In cover band), now to Grenades!?. Having parted ways with recording member Daniel Cortes (second guitar/backing vocals), Tyler McKinley keeps the musical tradition strong playing in Roley Yuma as well as Dear Fawn (which also includes Madero, but on drums). Rounding out the quintet is Josh Moody on bass and Andrew Chenault on drums. With Grenades!? having such strong roots in Dayton, Ohio’s music scene, it’s no surprise that their debut, Interrobang is catchy and fun, if a bit safe.

It’s an exciting prospect when you hear of a group that has been playing for along time scrap all their live material only to record totally new songs for their first LP. That’s exactly what happened to Grenades!?. (I still think there’s a case to be made for “Balcony Bash,” though; maybe next time.) Passing the intro track, “I’m Aware Wolf” finds Grenades!? starting the show off with a show stopper. Madero moans and yelps as a heavy handed guitar-megalodon pounds and solos to the end. While reminiscent of acts such as Walkmen and Klaxons, Interrobang most reminded me of hearing the ever so catchy Arctic Monkeys’ Whatever People Say I Am, That’s What I’m Not.
With songs like “Space Heater,” “Working Title,” and title-track closer, the album is danceable, sexy, floaty, and poppy. With titles like “Starship Bloopers” and “All The Good Teas Chai Young” you may think that Grenades!? is playing around; but in reality it’s that sense of humor that feeds into their live presence. Interrobang has the potential to make a strong live showing, but it’s the risk factor that may limit its listenability. I hope to see a follow up, because the addition of McKinley could lead to some interesting avenues being explored. While the risk factor is low, the rocking factor still totally holds up. Does Grenades!? have the ability to stand out from a burgeoning Dayton music scene? Only a follow up will tell so here’s hoping.

Self-Released [2015]

Key Tracks: “I’m Aware Wolf” / “Starship Bloopers” / “Performance Anxiety”

Artists With Similar Fire: New Order / Walkmen / Klaxons

For more music reviews visit The Fire Note, a unique voice in the current music scene that will consistently offer a different perspective.

From Stratocaster to Stratosphere – Noah Wotherspoon Takes Big Win At 2015 International Blues Challenge!

February 3, 2015 By Dayton Most Metro

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Noah Wotherspoon band with Rob Thaxton on bass and Brian Aylor on drums

Custom Gibson 335 Albert King Blues Guitar

The legendary Beale Street in Memphis, Tennessee was the scene of an international showdown. For four days in January, (20-24), 250 blues acts from around the world came to compete at the 31st. Annual International Blues Challenge. Daytonian Noah Wotherspoon took top prize, the coveted “Albert King Guitar Award” for best guitarist and placing 2nd. in the band category. To recap, best international blues guitarist, 2nd. best international blues band. That’s “international”, as in, “the world.” He confesses that late night “did that happen?” texts to his mother help to wrap his mind around the experience.

This trip to Beale Street was not the first. Representing the Dayton Blues Society, Noah and his 2 man crew of Rob Thaxton on bass and Brian Ayler on drums, were accepted into the challenge in 2012, 2013 & 2014. As in past years, Dayton and Cincinnati were well represented with area favorites such as Doug Hart. In three days, Performers passing each round of quarter and semi-finals end up on the Orpheum stage for the final showdown. Noah remarked on the ever-present spirit of Elvis inside the Orpheum, a venue where a teenaged Elvis Presely held a job as an usher. Just working on that stage is a prize that many artists dream of.

The take home prize for the “Albert King Guitar Award” included cash for travel reimbursements, billing on prominent blues fest venues, a “Category 5” Amp and the custom Gibson 335 Albert King guitar.

It’s a long way to Beale Street, just ask Dayton native Noah Wotherspoon. A child prodigy, Noah spent much of his teen years sharing the stage with every major blues great you can name. He also spent many years on Dayton stages such as Gillys Bar and Jazz club with his band “Noah and the Stratocasters.”

Noah Wotherspoon, 16 years old

Many interviews are archived with a 14 year old Noah. At the time, most questions centered around what it was like to share the stage with legendary blues artists around the world, then come home to play venues that required him to be accompanied by a parent. Even now in his early 30’s, his youthful appearance and humble demeanor add to the shock value for those who are new to the Wotherspoon guitar wizardry. Noah recalled one of his favorite stories of being 16 years old with shoulder length blonde hair and commonly being mistaken for a cute girl. Being blessed with a sense of humor, he shared some of his favorite incidents with me. One such story involved a blues hero of his, Bobby “Blue” Bland. Before taking his turn on the stage, Noah was up front in the crowd, admiring Bland’s set. As any performer might react to a young attractive fan, he was singled out for a very special serenade of “Little Red Hot Mama” from the stage. The audience of blues fans familiar with Noah’s work felt they should inform Mr. Bland of his faux pas by collectively yelling “HE’S A DUDE!” Now, many years later, this is a “family” joke between Noah and one of his closest friends Rodd Bland, the son of Bobby who played drums for many years in the band. Bland and Wotherspoon’s bond deepened over the last couple of years when the two lost their fathers within a short time frame.

Tonight, (Tues. 2/3), you can hear Noah recount the experience of the International Blues Challenge, growing up on the stage, and more as he joins Gene Charles during “Blues Corner” on WSWO Oldies 97.3FM and streaming at . Tune in from 7pm-9pm Eastern.

On Thursday, (2/5), from 9am to noon, he will be talking about the Cincinnati Blues Society Winter Blues Fest on WNKU.org.

Keep tabs on Noah, his bands and his side projects, such as “Nowhere Bear” custom guitar straps,
here:

Here is a brief excerpt from an interview Tony Peters of WSWO Oldies 97.3 did with a 14 year old Noah:

Sound Check: An Interview with Tim Anderl and Frank Steele of Sound Check Chat

February 3, 2015 By Dayton Most Metro

It’s a relatively low-key night at South Park Tavern when I join Tim Anderl and Frank Steele. The patrons are all scattered around the establishment, as the televisions above the bar are showing one of the few college football games left in the season. The three of us dive into a nice little collection of pizza and wings, and partake in some of the draft beers that are available to choose from. Being in the journalism field since 1996, focusing primary on the music side, Anderl’s bio comprises thousands of hours invested and countless interviews conducted with artists that are listed in every category and genre that could be ever thought of. Bands that tour around the United States to perform in local bar/venues, along with the ones that are seeing success that expands beyond their wildest dreams-Anderl has the privilege and fortune of being part of the music scene for some time now. With his current roles of web editor/writer for Ghettoblaster Magazine, New Noise Magazine, along with his local work at Dayton City Paper-Anderl has become widely known for his celebrated work in the music business. The next step towards bolstering his name started in March of last year, when Steele and himself begun a bi-monthly podcast that is titled Sound Check Chat.

With the aspiration of writing for publications like Rolling Stone and Spin growing up, Anderl took the proper steps to fulfill that desire by earning his degree in journalism at Ohio University. Even with landing great opportunities like interning for Alternative Press magazine during his college days, the hope to release work in the popular music periodicals never truly materialized. “I was dating someone that I wanted to marry who was still in college,” Anderl explained. “I went and got a day job and waited for her to graduate. By that time, we had family in the area, and I had settled into the job.”

Coming to terms with not writing for large publications was difficult, but Anderl went to work on finding different outlets to release his writing. He created his own website magazine formats for a period of time, including one that is still rolling-YouIndie.com. Opportunities to do some freelance work for other publications, such as Strength Skateboarding, Substream Music Press and blogs DoneWaiting, Delusions of Adequacy came along the way soon after. Podcasting was something that had never crossed Anderl’s mind. He mentions that he has listened to an assortment of shows, mainly on NPR, but when he reflected on venturing into the medium-he decided against it. “I really didn’t have the time to do it myself,” Anderl says.

As luck would have it, Steele was already setting up possible ideas and formats that would eventually become a podcast. With a background specializing in web, television, movie, production and design, Steele has been creating video media content around the Dayton area. Success has come to Steele, and with good reason. With his work in production, he has been awarded with having winning music videos with artists who have appeared on MTV, VH1, and CMT. He bounced around some concepts for the podcast, and settled on having the show concentrate on music. Steele pitched the idea to Anderl, and he quickly hopped onboard. The two friends had previously done some work, with a video production that was shot in Rumbleseat Wine when Jonathan Kingham (singer/songwriter that also was a touring member of Toad The Wet Sprocket) came to town in 2012.

Sound Check Chat’s nucleus is pretty straightforward-the show is centered on Anderl speaking with musicians from all over the United States and beyond. Roughly closing on the 30 minute marker (some longer than others) with each interview segment, Sound Check Chat is an insightful look for music lovers. “Tim is one the phone for a lot of the interviews anyway. I said to him let’s record the conversation, and make a podcast of that,” Steele explained. “It would be an extra product that you can offer.” With the tight editing courtesy of Steele, you don’t get much in the way of prolonged silences, questionable motives, and delayed responses. Anderl’s remarkable interviewing with his extensive research on each guest captures moments that you would normally wouldn’t get with most podcasts being aired, which is what gives the show such a pleasure to listen to.

With sixteen episodes already released, Sound Check Chat is still continuing to grow month by month. The duo already has sponsorship for the show, which for beginning podcast obtaining such a feat is worth being noticed. Some highlights of shows that have been released already include JT Woodruff from Hawthorne Heights, Chris Simpson of Mineral, and Violent J from Insane Clown Posse, it’s clear that Anderl and Steele will be providing listeners a wide array of musical talent to hear from.

Steele and Anderl reference that the whole development and growth of the show has taken a little bit of time, and possible will be slowly built. However, the duo have made the decision to keep it way. They aren’t about going out and chasing numbers. They want to have a show that is true to them. “We have been letting it happen organically,” Anderl says. “It would be disingenuous for us do to any other way…people seemed to be enjoying it, and that’s good enough for me.”

To listen to the show, go to the website http://soundcheckchat.com/. You can also subscribe to the show in iTunes or Stitcher Radio.

Madman Across the Water: The Music of Elton John

January 28, 2015 By Dayton Most Metro

On Saturday, January 31, 2015 at 8 pm in the Mead Theatre of the Schuster Center, the Dayton Philharmonic Orchestra, under the leadership of Conductor Patrick Reynolds, will present Madman Across the Water: The Music of Elton John, featuring rock ensemble Jeans ?n Classics, the second concert in the 2014–2015 Dayton Freight Rockin’ Orchestra Series. Associate Sponsor for this concert is Miller-Valentine Group.

Dayton Philharmonic Orchestra is pleased to announce Dayton Freight as the new title sponsor for its Rockin’ Orchestra Series, which includes four remaining concerts in the 2014-2015 New Horizons Series. “At Dayton Freight, one of the ways we demonstrate how much our customers and employees mean to us is by providing financial support and being an active participant in community initiatives and organizations,” said Mike Cronin, Executive Vice President of Dayton Freight. “We appreciate serving our community wherever and whenever we can, and we are especially proud to support the DPAA as Title Sponsor of the Rockin’ Orchestra Series.”

Springfield Symphony Orchestra Presents 1788!

January 19, 2015 By Dayton Most Metro

This concert brings to a close the SSO’s first-ever Mozart Festival; a ten-day celebration of the music of Wolfgang Amadeus Mozart, one of the most creative minds in history. During the summer of 1788, Mozart enjoyed a flurry of compositional activity, producing over a dozen new works, including his three final symphonies. But this composer who always created with a specific occasion in mind wrote these monumental works with no apparent cause. Each one unique in sound, structure, and style, they are marvels of invention, and very human statements. Perhaps they are the result of an inner compulsion to create, somehow knowing that the end of his life was near.

REVIEW: Operation: Giving Back Christmas Gets Pink Velvet Krushed

December 20, 2014 By Mike Ritchie

PInk Velvet Krush (photo by Mike Ritchie)

On Saturday December 13^th The Old Crow Bar in Middletown hosted a special benefit for two families of the Heavy Metal Church of Christ in need over the holiday season. All bands, contributors and supporters volunteered their time and talents (many driving a distance) to help out making sure the families had necessities and the combined seven children, infant to mid-teen, had goodies and toys from Santa under the tree. The Skull Dollz also made an appearance for photo ops and other assorted good natured skullduggery. A donation bin was also previously set up to collect items all of which along with show proceeds will be given to the family on the 23rd.

The owners and staff of the Old Crow were generous with the event, assisting organizer Teri Spence with the offered buffet and setup. Spence also expressed sincere gratitude to Steven Van Skoyck and Tiffany Zulock Van Skoyck, Jessica Tinch, Allen Phyllis, Ann Mason, Ericka McGowan and Michael Anspach along with Rachel Smith, Chrystal Kay, Angie Johnson Castle and Samantha Noble Baumgartner from the Dollz for their hard work and assistance. Tim Guilfoyle from Queen City Drums and Wildman Walker were also in attendance to help support.

Raffled items included numerous gift cards from PF Chang’s, First Watch Restaurant, Frickers, Godfathers Pizza, Chipotle, Rose Retro Rock Shop, assorted metal CD’s, jewelry custom made by Spence and stem wear from BJ’s Brewhouse. The two most popular items of the night were autographed memorabilia/merch personally donated from Straight Line Stitch and Jerry Only of The Misfits.

Cody Ridenour opened with a one man acoustic jam, sharing the spotlight with his lovely wife Chelsea a few songs in. Almost all originals from the Germantown by way of St. Petersburg Florida solo guitarist. Starting with original “Today We Pray” followed by “How Long”, he played and sang with passion pulling unexpected power out of the ‘unplugged’ strings. Thinking ahead he one-upped the crowd and played some Skynyrd with the “Simple Man”. He finished with the impassioned “Cyanide” (You’ve Wrecked Me) ending with a co-written duet with his wife on “Broken Hearted.”

Casey and the Nobodies were next, as the one man jam trend continued. Known for acoustic blues, rock and classic country Casey took over the stage starting with original “Knock on My Door” followed by Alice’s sweet song of war and the “Rooster”. Another of Casey’s originals said “Gotta Get Out” and Chris Isaak said it was a “Wicked Game” to play, to make the video feel that way. The king of pop comes clean about “Billie Jean” sort of, she’s just a girl, alas we’ll never know if he’s the father. The Black Crows still talk to angels and Neil Young is ageless and timeless rocking his crazy horse in the free world.

All the Children made the 3 ½ hour drive from Morehead, KY to help the cause. Playing a set of original alternative rock with a few covers they jammed out “Free Slave”. Alex Clare got a shout out on “Too Close” then made a statement with “We Are One”, the first tune played off their demo. There’s a “Man Overboard” as water engulfs the lungs played with early Nirvana attitude, before the baby went swimming. EP opener “Battle Cry” was next followed by the catchy bounce of “Prepare for War”. Alternative Aussies Silver Chair got some rare love on the lesser known “Pure Massacre” off Frogstomp. They finished with the honkey-tonked electric sound of “Airlock” with a touch of a space odyssey.

Rocky Candy (photo by Mike Ritchie)

Cincinnati’s Shadow of Shepherd is a three brother alternative rock trio. Opening with a one-two “alt” punch they decided to “Send the Pain Below” with Chevelle and Wonder What’s Next opener “Family System”. They switched genre’s slightly with “Somewhere in the Sky” by Kutless. They played original “Fight” then switched feet with Switchfoot on “Meant to Live”. They let their light “Shine” down with some Collective Soul finishing with original “I am Alive”.

All right ladies pay attention and guys, listen up. Rock Candy was here and they took all the good little boys to school. The all- female trio from Cincinnati kicked out some sweet tunes starting right up your alley with one of the classiest lady rebels of early 80’s rock and 2015 RNR Hall of Fame Inductee Miss Joan Jett. Yeah, we’ve all been there cause I “Hate Myself for Loving You”. They pulled out a youthful Sammy Hagar and some of his “Rock Candy”, not in a three lock box. They went old 80’s LA back to the Hollywood Sunset with a young, hungry Crue that’s “Too Fast for Love.” He toured with them in ’83 but for tonight Ozzy’s riding solo on the “Crazy Train”. They got humble playing the “Fool for a Pretty Face”, we’ve all been hurt by love. They finished with an all-girl original “Calling all Girls”.

Coming from Milford Ohio, Dear Agony “smoked” the stage playing a set of originals and covers. Only being together as a band for a couple months they played with experience from their previous stint as Arcadia Backfire. They were kinda like “Whatever” with Godsmack, shared their “Epiphany” with Staind and staged an electric sit down “to get to know everyone’ like “Nothing Else Matters” according to Hetfield. Two of the five originals played included the smooth rocking “Face the Day” and the more emotionally charged “Survive”.

Clockwork Soul (photo by Mike Ritchie)

Dayton’s new and improved for the next generation ClockWork Soul was next with the killer eyes and growl of Mystie Rose. One could and probably would think to see them all on stage that they’re a bit “Out There”. Rose speaks the voice of experience about bad relationships. Make sure the person shares the same feelings you do or you’re living in a “Masquerade”. They play with the BulletBoys and declare, they’ll come back to you “When Pigs Fly”.

Pink Velvet Krush is a modern day throwback to the decadent 80’s glam and sleaze under the blazing LA sunset. Reminiscent of Faster Pussycat and LA Guns, with former members of Bullet Boys, Pretty Boy Floyd, Britney Fox, Steelheart, Dust N’ Bones and Vaudeville, it’s a mass super-group of hair-sprayed experience still swimming in the Aqua Net. They can talk about the Head Bangers Ball days cause they lived it, bringing an 80’s arena show style and delivery to the club stage in the vein of Motley Crue with guitar mannerisms of Tipton and Downing.

Doug Savage keeps the frontman flame alive with everything we fondly remember from the days of decadence with a finger point or raised fist. The Krush started with “Nothin’ to Lose”. Metallica said “Misery Loves Company” on the black album but PVK’s saying it now. They slowed it down a little bringing the symbolic lighters up feeding their lonesome, twisted “Obsession”. The dirty blues blasted rocker “F.S.O.A” (Fifty Shades of Anything) chugged along, accompanied by the more serious, life on the road retro feel of “You Take My Life”. Ladies, Savage and the boys wanna make you “Scream”!

That good ole’ damn “Ball and Chain” came out swinging, kicking out the blues and they got two bullets, “One Shot” left to shoot to thrill. They ended the originals with EP title track “Break These Chains”, then asked if anybody was in the mood for some classic ‘hair’ metal.

They decided to break all the rules at the Girlschool with Britney Fox, then got Smooth Up in Ya with the BulletBoys because there were no Congo drums for St. Christopher. They finished with that lovely lady who just can’t go living after midnight as she cries “Somebody Save Me”.

Buffalo Wabs & The Price Hill Hustle In Town Friday

December 17, 2014 By Dayton Most Metro

Buffalo Wabs & The Price Hill Hustle is a Cincinnati based, 4 piece Americana/Folk band that blends the tradition of heroes like Woody Guthrie and Mississippi John Hurt w/ contemporary flavor. In its short existence, the band has grown its fan base by getting out in front of folks. Whether it’s the great variety of local shows or their regional touring, they always bring high energy onto every stage on which they perform.

Buffalo Wabs (aka Matt Wabnitz) spearheads this group, playing guitar and taking most of the vocal duties. Casey Campbell,Ian Mathieu, and Scott Risner comprise The Price Hill Hustle side of the equation. The group is deeply rooted in the tradition of Old Time pioneers; however, the energy they bring to a live performance could burn down the rowdiest honky-tonk in town.

REVIEW: Bobaflex Rocks Oddbody’s

December 15, 2014 By Mike Ritchie

They avoided or skipped the chaos of Black Friday in Dayton this year but West Virginia’s hardest working band Bobaflex brought the diesel fumed rock as only they could as the black leathered bad men hit the Dayton stage once again on Saturday December 5th.

Desalitt (photo by Mike Ritchie)

Locals Desalitt brought a unique blend of grunge, punk and metal, and the long haired/dreadlocked blokes from across the sea October Rage brought their version of hard rock bordering on metal to the heartland.

Created in 2008 in Xenia, Desalitt plays rock with a grungy metal twist. They played a few originals with heavy covers mixed in. The dual vocals of the leather and spiked clad, green haired, mic fisted in your face Shug played a nice opposite to the ‘calm, long sleeved but not flannel, and collected’ guitar playing “more serious” Greg Crawford. A ten song set of originals and covers included a mix and match of punk, rock and grunge as the “Bodies” hit the floor. They had a little bit of rage to get out before the Aussie’s had their turn with “Bulls on Parade.” It was time to Take a Look in the Mirror with Korn “Right Now.” Original “Broken Strings” carried a melancholy atmospheric mood in the guitars with a mix of Scott Stapp and Scott Weiland vocals. “Insane” had a swampy guitar attitude digging deep into the Sabbath blues. “Want Me to Be” had Eddie Vedder invading on vocals with Pearl Jam’s angst riddled creed behind him.

Dubbed one of the “hardest working bands in rock” on their seven month USA Outrage Tour racking up over 70,000 miles and 120 shows traveling across the country spreading their October Rage to America, the brother’s and co. have brought their metal tinged Aussie rock to Yankee ears.

Formed by brothers Nick (vocals, guitar) and William (bass) Roberts in late 2008, they’re from the Central Coast of New South Wales, Australia and quickly gained notoriety supporting Bon Jovi on their Circle Tour at sold out shows in Sydney.

With their 2011 debut Outrage and this year’s Fallout, Dust and Guns release under their belts they’ve played with Steel Panther, Saliva, Sevendust among others.

Bobaflex (photo by Mike Ritchie)

The rage began with “Wayside” with Nick and William’s hair and locks flying around the stage like Rob Zombie whiplashing the post at a roadhouse back porch witch burning. “Valkyrie” hits a little harder with some dirt under the wheel riding by with rebel thunder. Beware of the “White Walkers,” you can feel them “Coming in the Air Tonight.” They add in a little acoustic charm with the rock on “Silver Line” floating close to Skillet territory and ‘dangerously’ close to Nickelback. They turn the rock back up on “Set You Free” finishing with the slow bluesy sing along “Reign of Fire”, adding a bit of Skynyrd to the mid-section jam, prompting a lighter tribute, once thought extinct in the era of the cell phone glow.

With hell in their hearts the men in leather and black started with “Low Life.” It was George Thorogood on steroids as they cruised down the “Chemical Valley” screaming loud and proud before crashing and burning with style with the help of some sweet liquid sin. Charlatan’s deadly venom made its first appearance with the loving neck caress of “Strangle You.” The camera does strange things to the “Pretty Little Things” next door. Sweet and innocent turned addicted media queen. From all of us to you, with true sincerity, “I’m Glad you’re Dead.” Can’t you hear me laughing as I dance on your grave? Break out the bubbly.

The life of the trailer park says come back to me but the pleasures and excess of touring say never. It’s so hard to resist the seductive sharp kiss of the “Vampire.” She’s a blood boiler, life sucker. Exorcise her demons with the back of your hand, “Bad Man.” Simon and Garfunkel along with Depeche Mode enjoy “The Sound of Silence.” Bringing a bit of the 60’s hippie folk vibe rocked up with some guitar rev.

They’re losing their minds on motor fuel, decibels and live octane doing it on stage their way. Don’t fall in love and get hurt, they just want a meaningful one night romance, enough time for a “Rogue” dance. They brought the hands up with the ultimate West Virginian rebel rouser anthem. Members of Desalitt and October Rage came out to jam the way any road weathered rock star wants to go out. Die with your boots on so they’ll “Bury Me with My Guns On.” Hey! Sending the crowd home happy, they encored with an attitude on “Better than Me.”

www.theofficialbobaflex.com

www.oddbodys.com

Remembering Tim Taylor and Jeremy Frederick

December 5, 2014 By Dayton937

Written by Art Jipson & Shelly Hulce
Dayton, Ohio-
This Saturday the Dayton music community remembers several members of our music family. Jeremy Frederick Presents: North Of Nowhere South brings together several exciting bands to celebrate the life and music of Jeremy Frederick.

The Dayton music community has long had a unique “band of brothers” landscape as far back as anyone can remember. Even in the 1970’s when Dayton funk was taking the world by storm, it was very much a family affair here on the Dayton home front. It might be a Midwest thing, but the social bond between musicians in this town of ours has always seemed to transcend the average notion of a “scene.” In the James Greer book, Guided by Voices: A Brief History Twenty-one Years of Hunting Accidents in the Forests of Rock and Roll, there is a Dayton music family tree. While that book will be 10 years old next month, the truth of the bonds that bind all of us remain eternal. A lot has happened to the music family tree in 10 years (and in Dayton years, that’s a lot longer than 10!) The one element that seems unaffected by time has been the bonds of solidarity, relationships, and family.

Tim!

The ripples of Tim Taylor’s loss can still be felt by music fans, even 17 years later. Those who were closest to the epicenter of that tragedy have a deep survivor’s bond. A wound filled of memories, music, and possibilities. Many of Taylor’s closest friends and band mates resided at the infamous Rock and Roll Bed and Breakfast, 1317 N. Main St. in Dayton and are still shaped by the loss of Tim. As deeply as when he passed, the community at large still has that day etched in their hearts, those in Taylor’s social and musical circle had their lives forever altered.

Another loss equally felt by all of us, was the loss of Jeremy Frederick. Every bit the talented and outlandish a personality as Tim Taylor, Jeremy was a pillar in the music community we call family. Jeremy carried the grief of a brother. Taylor and Frederick were, and still are, twin flames – creating remarkable music in amazing bands that dazzled the Dayton community and beyond. At times, their light was bigger than the room. It’s obvious those flames have never dimmed. The thought of Taylor and Fredericks as surviving brothers in arms joining together in music celebration in one place at one time is sure to create a light that’s bigger than the room itself.

As John Schmersal noted about the musical celebration happening on Saturday: “I happened to be at my folks for Thanksgiving and after to visit so, I wanted to take part. We discussed doing songs from the high school band that Jeremy, Tyler, and I had called Sunken Giraffe. We weren’t able to get the bass player Brian involved and from there it turned into doing a Brainiac thing, since this year the idea was opened to not only celebrating Jeremy’s music but, other local musician’s who had passed. It has never occurred to any of us to reform the band because it is simply not Brainiac without Tim Taylor. This is about celebrating the music of our friends with our friends in the community where it came out from.”

Jeremy!

As anyone who has loved deeply can tell you, the most incredible and humbling thing you’ll ever experience is someone caring for your child. Jeremy loved his daughter like he loved music. A lot of folks in our community remember Jeremy’s joy the day Izzy was born. This annual birthday party for Jeremy Frederick is more than an excuse to keep the fun and the memories going. This annual event also serves in tending to the future. The proceeds from the show go to her education fund. Jeremy and his mother, Jackie, were good examples of higher education to Izzy with their long history of attendance and employment at Wright State University. Jeremy’s personal legacy lives on in the stories of his WSU professors (If you knew Jeremy, let that sink in for a few minutes…).

Always at the forefront of Jeremy’s education and band life was his mother Jackie. This lady should be considered for sainthood. She once said that it was quite normal to awake in the middle of the night to find Jeremy and his band mates in women’s clothing. They were usually her clothes. Jackie cheerfully served as band roadie, chauffer, cook, secretary, you name it. She is very much a guest of honor during the annual benefit show. Jeremy’s father, Butch Frederick, was in ill health but attended the 2013 show.
Butch recently passed away and we send special thoughts and prayers to the Frederick family this holiday season.

Memories such as these are remarkable gifts. And nothing connects memory, loss, and the celebration of life as music. This weekend we have a very rare and special reminder of what music can – and should mean – to us as members of the Dayton community who have lost such remarkable people. The return of We’ll Eat Anything this Saturday night at Blind Bob’s is nothing short of the appropriate celebration of life and music that Jeremy and Tim’s flames require. For you see, We’ll Eat Anything represents not just an opportunity to celebrate lives lost far far too soon but connect us all to a strand of Dayton music that hails from one of the finest Dayton bands, Brainiac.

The late great band known as Brainiac was born in January 1992 with an initial lineup that included Tim Taylor on lead vocals, guitar, keyboards, and synthesizers, bassist Juan Monasterio known in the beginning as “Monostereo”, guitarist Michelle Bodine and percussionist Tyler Trent. On March 12th, the band played an legendary first show at Wright State University’s Cafeteria, under the name We’ll Eat Anything. The band that would become known as Brainiac with the now-classic logo – debuted a short time later: 3RA1N1AC.

Brainiac

The influence of Brainiac on local music cannot be overstated. So many local bands – Oh Condor, Northwest Ordinance, Toads and Mice and so many others were influenced by the sound of Brainiac yet, it is hard to describe Brainiac to the uninitiated. The music was post-punk inspired art noise before such a term had any meaning other than that of John Cage and his musical successors such as Sonic Youth (in New York), Husker Du (from Minneapolis), Blood Brothers (from Seattle), Big Black (started in Evanston, Illinois) to name a few. The music of Brainiac was a joyous clash of sound. The songs were a result of barely controlled alienation fueling the use of discordant guitars playing over a noise-rock combination of percussion, booming bass, and varied aural accompaniment of looping synth elements, beats, and sounds. The use of the synth as an equally aggressive instrument along with the guitars and bass combined expected and unexpected components to the music. In fact, many of the most exciting elements of the early Brainiac sound were the brilliant clash of different tuned guitars, bass, and synth that fused experiments of alternative sound collage, the most liberating elements of DIY punk rock aesthetic, and unique deconstruction of the rock and roll form. What Brainiac did so well – and light years ahead of their peers – was the creation of music that reinvigorated the rock and roll paradigm into directions of heat, light, sound, feeling, body, and musical escape that merged diverse voices and noise, art, sweat, and love and community into a solidarity of music.

Brainiac shows were collections of music lovers, adventurers, neighbors, and friends who were merged into a family through their shared experience and interactions at the performance. The intensity of the vocals – often accompanied with sweaty cathartic movement on stage – were remarkable collective episodes of community. Those who attended the early shows were thrown into a state of near euphoric collective almost tribal activity. You danced. You danced hard. And then you moved around some more.

As the band released a series of singles, the interest in this unique sound grew. The singles sold extremely well in the Dayton and surrounding areas. No other band in the area was fusing indie, post-punk and noise rock in this fashion. The band’s debut was released on the indie Grass, which was distributed by major label BMG Records in 1993. The debut Smack Bunny Baby produced by Girls against Boys Eli Janney was very well received both in the Dayton community that sheltered the developing band and garnered support nationally. The band’s intense performances only increased after the release of their first record. While on a regional tour the band picked up fans from each stop. In 1994, the band released its sophomore record, Bonsai Superstar. The record attracted even more attention than the first from recognized national critics and music fans alike. Pitchfork Magazine has called the record one of the best albums of the 90s. Bodine had left the band shortly after the release of Bonsai Superstar to be replaced by guitarist, multi-instrumentalist John Schmersal.

While supporting Bonsai Superstar, Brainiac’s influence continued to attract the attention of music fans, critics, and other artists. In 1995, Brainiac played on the Lollapalooza side stage and recorded four songs for the venerable Peel Sessions in the UK. The band was courted by Chicago-based independent label Touch and Go and released Internationale, produced by fellow Daytonian Kim Deal (The Pixies and The Breeders). This record continued their uncompromising approach to sound textures while still maintaining the intensity of post-punk, alternative rock, and indie.

Brainiac’s third album came out in 1996, Hissing Prigs in Static Coutre was another record released on the well-respected Touch & Go label. This album also increased the national stature of this local band. The album sold very well for Touch & Go and was listed as one of their best sellers that year. The band released what many consider their finest record a year later Electro Shock for President in 1997. This record has been cited by many artists as an example of what art noise rock can accomplish. Artists as diverse as Trent Reznor (Nine Inch Nails) and Chris Walla (Death Cab for Cutie) cited Brainiac as an influence on their music. Brainiac generated serious attention as the live act to see that resulted in them opening tours for such diverse artists as Beck, The Breeders, labelmates The Jesus Lizard. In addition, the band began receiving offers from major labels for their next record. Unfortunately the ep Electro Shock for President was their last record due to the sudden death of Tim Taylor. Taylor was killed in a car accident on May 23, 1997, during the pre-production for their fourth full length album. The record was to be the first of several for Interscope Records. Without Taylor, the other members decided to disband. A benefit show featuring fellow Daytonians Guided by Voices and The Breeders took place shortly after Taylor’s passing. So beloved was Brainiac that the benefit became more of an elegy to the band and the music that they had created rather than as a simple concert. Many Dayton music fans still remember the outpouring of emotion during that show and carry the memory of Brainiac with them today. Information about the Tim Taylor memorial fund can be found at BigBeef.com.

So, this weekend we have a rare opportunity to see the remaining members of Brainiac along with several great Brainiac-inspired bands, Oh Condor, My Latex Brain, and Cigar Jar Crash Attack. So, what are you waiting for? Make your plans now to join our community as we celebrate Tim and Jeremy’s lives, raise money for Izzy’s education, and remember some of the best of what makes Dayton a vibrant rock and roll city.

To experience some of what made Brainiac so real and so powerful watch the video – Vincent Come on Down And to experience what is special about our music community in Dayton, join us at Blind Bob’s this Saturday from 9 to well, who knows when the celebration will end that’s the thing about family!

For those who cannot make this show and want to contribute to Izzy Frederick’s college fund, you can send checks or money orders to her educational fund at the following address:

Isabella Frederick Educational Fund
Wright Patt Credit Union
P.O. Box 286, Fairborn, Ohio 45324

(photos in this essay contributed by Tim Krug and the Frederick Family)

Funk N’ Brew Fest! Featuring Dayton’s own ZAPP!

December 1, 2014 By Dayton Most Metro

Join us for the First Annual Funk N’ Brew Fest!
Featuring Live – Dayton’s own ZAPP!

A Salem Avenue Peace Corridor fundraiser
celebrating Dayton and the Peace Corridor’s rich history of:

Funk
Brewing
WDAO Radio’s 50th Anniversary
Dayton Weekly News’ 20th Anniversary
Miami Valley Golf Club’s 95th Anniversary
and
The Music Lives On Memorial!

Beers from Union Craft Brewing, Baltimore, MD, and many of Dayton’s outstanding breweries including Toxic Brew, Yellow Springs Brewery, Fifth Street Pub, Warped Wing and Hareless Hare. Other beverages will be available.

Buffalo Soldiers: An Interview with Zachary Gabbard of Buffalo Killers

November 28, 2014 By Dayton Most Metro

The Cincinnati-based rockers Buffalo Killers have been busy since the beginning of this year.

First, they helped kick off this year’s Dayton Music Festival 10^th year anniversary with a special show featuring a church choir in the Christ Episcopal Church in downtown Dayton back in April. They followed that with a coast to coast summer tour, which was in support of the release of Heavy Reverie, which was released in May. During their time on the road, the made their annual stop in Austin, Texas and performed at South by Southwest “This past year was probably the wildest one,” bassist and vocalist Zachary Gabbard says during our phone conversation. “A lot more people, taking every band from everywhere, bunch of people think that they are rock stars, and throw them into one city. It was nuts.”

Whatever they will admit or not-Zachary, along with his brother and guitarist/vocalist Andy, and drummer Joseph Sealy-they are fast approaching their own unique rock star status through their growing library of hook heavy, homegrown rock. The music encompasses the rawness of blues and psychedelic basics. Buffalo Killers play loud and unrestrained, free with a beauty and ease. The trio recently added lap steel/guitarist Sven Kahn’s into the band this year. The guys of the band knew Kahn’s for some time, with him filling in from time to time during shows, and playing in some during the recordings of their album, 3.

Music was always around when Zachary and Andy Gabbard were growing up in their home. Along with hearing the classic records spin from Neil Young, Grateful Dead, and CSNY-their father would play some strung the guitar with friends, and co-workers after work. When Zachary decided that he wanted to pick up playing on his own, he was given a bass because his father said that “guitar players are a dime a dozen.” Andy started to play guitar at a young age as well, playing with a small Fender with a small neck. Along with being taught by their father, Andy particularly would play along AC/DC records.

The Gabbard brothers formed their garage rock band Thee Shams in 1999, along with Sebaali, Max Bender, and Keith Fox. Thee Shams released four albums on four record labels, and toured extensively. The toll of the touring and recording took a toll on the band, and the band broke up in 2005. “It became where we were obviously the three guys (Zachary, Andy, and Sebaali) that were committed to this project,” Gabbard explained. “Us three were ready to go-that’s all we wanted to do. So when it started to slow down, we just say let’s start over.”

The newly formed trio of Buffalo Killers quickly picked up where their previous band left off. They started to gain followers everywhere they went, and even caught the eye of the folks over at Alive Records. The record label received the five-song demo that Zachary sent out to several other labels. It took less than a week for Alive to call the band to sign them. The first album under the label helped Buffalo Killers obtain the opportunity to go play a string of shows with The Black Crowes in 2007. When they returned from touring with The Black Crowes, the band went to work on their second album, Let It Ride, with Black Keys guitarist/vocalist Dan Auerbach serving as producer. With their time being under the Alive Records name, Buffalo Killers would go on to release three more albums: 3 (2011), Dig. Sow. Love. Grow. (2012), and the 2013 Record Store Day only release of Ohio Grass.

This past year, Buffalo Killers made the move over to Sun Pedal Records, and subdivision of Warner Bros. The goal wasn’t to move on from Alive, because the band were happy being with them. The people from Sun Pedal started showing up at the shows more. Conversations began to become more and more frequent, to which the decision was made to make the move. “Alive was super good to us,” Gabbard says. “It just worked out. They were into doing the record, and making it come out fast. With them having distribution through Warner Bros., we all knew that the records could get out there more. Alive were supportive, and helped us get the deal done with Sun Pedal. It was good for everyone.”

While working on the direction and vision of producer Jim Wirt (Fiona Apple, Incubus), Heavy Reverie and their second release this year Fireball of Sulk have given Buffalo Killers a more cleaner sound while maintain their hard rocking ways and reducing the overdubs being used. While both Gabbard brothers would rely on each other with the vocals, and self-produce most of the albums, working with Wirt also helped the band get out of their comfort zone. “We were open to anything,” Gabbard says. “Jim captured it well.” The making of Fireball of Sulk was documented with a camera crew and photographers to release in relation with the record. The filming included learning the songs to recording them, which allows their fans and others to take a peek into the process of making the album.

When it’s all said and done, 2014 will be remembered to being some kind of year for Buffalo Killers. Under the Sun Pedal name, they have been getting more exposure, including being in a segment on Last Call with Carson Daly this summer when they on the West Coast. “Ah man, that was a big deal for us,” Gabbard gleefully mentions. “My kids think it’s the biggest thing in the world.”

The band also have a new place to practice, Zachary’s home in the country outside of Dayton and Cincinnati. “We can get as loud as we want out there,” Gabbard says.

Something that bearded fellas of Buffalo Killers have no problem doing.

Buffalo Killers will be performing at Canal Public House in support of their latest album Fireball of Sulk with Good English and Tombstone Tremblers. Friday November 28th. Doors open at 7. Show is at 10. $10.00 Day of Show.

Oddbody’s Host UD Metal Conference after Show with Alex Skolnick

November 25, 2014 By Mike Ritchie

Forces of Nature (photo by Mike Ritchie)

There was an addictive, contagious energy in Oddbody’s on Saturday November 8^th. Maybe it was due to the night being the top off, after party to three days of multi diverse and cultural information given by respected academic scholars at the University of Dayton on the global impact and culture of metal music and its growing community of supporters. Maybe it was because each of the three bands that performed on stage were handpicked from a group of over a dozen hopefuls from around the state to play for a crowd of appreciative metalheads and also….because one of the distinguished conference guests of the day was in attendance to watch them throw down.

The three full days of lectures and presentations were a true international experience for the 85+ in attendance. With 32 of the 36 presenters being from esteemed collegiate institutions bringing their knowledge and expertise to the eyes and ears of over 50 undergraduate/graduate students and a few select pillars of the local community. Seven countries were represented including the US, England, Canada, Germany, Norway, Sweden and Puerto Rico with Ohio, North Carolina, New York, Pennsylvania, New Jersey, Virginia, Utah, Missouri, Texas, California, Florida and Illinois also represented. Over the course of the conference over 40 attendees averaged each presentation so all information brought and taught was welcomed, wanted and assimilated by ‘suit and tie guys’ and ‘long haired metal heads’ possibly at the same table. Mr. Skolnick averaged the biggest audience with over 50. The film March of the Gods on opening night drew 32 attendees and the art exhibit “Mask: Face Paint, Head Coverings, and Masks in Popular Culture” drew approximately 35 for the formal showing plus more during the week.

Conference topics included: “Queer Metal Matters: Metal, Sexuality, and the Future”, Metal and Religion, Community and Metal, Extreme Metal and the Aesthetics of Community, Metal Under Totalitarianism, Metal and Culture, Cultural Legitimation of Metal, Metal and Education, Metal to the Extreme, Women and Metal, Metal as Performance, “Louder Education–Alex Skolnick,” Defining Metal, and “Heavy Metal: A Business, A Lifestyle, Past, Present, Future”

Lick the Blade (photo by Mike Ritchie)

It’s not every day an Ohio band gets to play a show with a man who’s traveled and performed on the world’s stages with the roaring bellow of Chuck Billy and Bay Area thrash legends Testament. A man many on stage with a guitar idolized and many within the crowd grew up head banging and moshing to his music. On the evening of Saturday November 8^th, Alex Skolnick was at Oddbody’s.

The event helped raise money for Project Read of Dayton and the Ronnie James Dio Stand Up and Shout Cancer Fund. Each band played with sincere strength, passion, energy and vigor representing their scene and the Ohio scene as a whole. As the night progressed the musicians performed as if standing in front of a packed, screaming arena.

Cleveland’s Lick the Blade brought the second coming of Iron Maiden from the north with the soaring, searing Ted Anderson hitting Manowar pitch notes with a power metal groove. Dayton reps Engine of Chaos brought the middle ground dividing the night with a slower, smoother bluesy groove mixed in its Dio meets Cornel Seattle sound and finished with the always intense mammoth thrash attack of Forces of Nature.

An arena sized passion was present and played from the beginning with a collective unity showing visitors from other cities, states and countries what Dayton can deliver.

Cleveland’s Lick the Blade brought the modern day classic sound of Iron Maiden mixed with power metal sounds and the endlessly high octaves of vocalist Ted Anderson who ranged from Dickinson, to Halford to Tate peaks. Formed in 2004, they decimated locally, going through a few member changes before acquiring Anderson and songwriter/guitarist Brian French. Signing with Cleveland based metal label Auburn Records in 2006 they released their debut Graveyard of Empires in 2009. From growing popularity overseas they were invited to perform at the sold-out Headbanger’s Open Air Festival in Brande-Hörnerkirchen, Germany. “Royal Blood,” from Graveyard, earned spots on compilation CDs from both Germany’s Heavy and Poland’s Hard Rocker magazines and Lick The Blade was voted “Best Metal Band of 2009″ in Cleveland Scene magazine’s 2010 issue of its annual “Cleveland Music Awards” feature. They’ve opened for Loudness, Exodus, Vader, and 3 Inches of Blood and more currently with a certain amount of musical irony, former Iron Maiden vocalists Paul Di’Anno and Blaze Bayley. Their second album The Sun and Time is out now.

The “Mark of Nero” opened with galloping guitars as Tim ‘Ripper’ Owens aka Anderson owned on old school early Dickinson era maiden. There was history in them riffs on “Guns, Germs and Steel” as they went back to the Di’Anno club days when Eddie was just a face on a sign. They headed back to the inspiration of Ra and the Powerslave era on “Blood-Soaked Majesty.” The chalice runneth over with glorious crimson on the celebration table. “Voyage of the Damned” could be their “Rime of the Ancient Mariner” as the ship traveled through the sea of madness through murky fog, where spirits of dead pirates waited to steer their vessel a foul. A majestic opening with Anderson singing a soft wail of woe of land not seen till forever’s end. “Twilight of the Idols”, it’s metaphysical with twilight in the sky of the ancient and eternal idols. The hooded Charon the Ferryman made an appearance, pointing his oar to all souls looking for transportation after adding to his pouch of coins. “Charon’s Obol” gave protection to the soul with safe passage to the next world. Album title track “The Sun and Time” was next followed by “Thanatos” bringing the death of us all riding the battle plight of “The Trooper.”

Engine of Chaos with Alex Skolnick (photo by Mike Ritchie)

Engine of Chaos came out ready to deliver the midsection of the night’s metal from Ohio selection with a set heavy with jam, groove and blues. Sirens went off as guitar reverb filled the speakers and bass thundered in. The first crunch of the almighty riff hit with the thunderous melodic yell of Scott Toops. Title track from Uncover the Bones brought forth some dirty buried secrets straight from the depths of Nola, LA. They went Down with conformity playing the warriors call, marching with stained feet from “Blood on the Shore.” The guitars got slow, moody and melodic with their own super-“Unknown.” The silence of the swamp was mucked up and smashed by the “Tug River” as watery guitar notes slithered down the river like hissing snakes venom. The bouncy thrash infused blues of “The One” was fused and followed by the dark tale of the “Deceiver.” Some bitches were born to deceive. They got a lil’ Sabbathy on the “Change” then the premiere of the new/unreleased “Dream the Past.” Dude Mounts guitar chugged and marched with searing notes, telling them God-Damned “Lies.” “7 Demons” finished up the set with special guest vocalist Joseph Palmer.

Then a special encore happened with the world renowned guest guitarist. “This song needs no introduction. If you’re a metalhead you’ll know this.” Toops proudly proclaimed. “Are you guy’s metalheads out there? Are you mother——‘s metalheads out there?” The opening notes of one of the greatest metal anthems began. “I wanna hear ya Dayton Ohio, get the f- up off your chairs (in the back) and get up here!” Tonight Dayton gathered in their masses, to see Alex Skolnick on stage, shredding Sabbath, kicking our asses.

Forces of Nature came forth and played with the power and passion of the gods and goddess’s. Marc Godsey took the mic speaking with genuine, heartfelt emotion about how incredible the last few days had been, the knowledge gained at the conference and the feeling of true love, unity and dedication displayed by the local scene. Not to mention meeting one of your guitar idols and being on stage with him. He stamped the statement with “and I CAN’T WAIT to play this set.”

The opening iron welding riff and yelling notes of “Magnus Lee” shot out of Jimmy Rose and Marc Godsey’s guitars laying inflamed ground work for Tate Moore’s screeching serpent’s tongued dark demonic delivery. It was a sharp, hard punch to the face with a warm hello, saying we’re here, now f—–g pay attention! It started raining blood in the “Forest of Corpses” from a lacerated sky. Drums hit guitars grinded and riffed upward in a tale of tortured self-hate. Mary’s one messed up bitch, in a moshed up f’n mess.

“Throwing Fists” in a cage or a concert, you’ll get hit back either way… and the cage is safer. Drums tapped ushering in the ram-rodder guitars smashing TV’s with wrecking balls, sledgehammers and other hardcore fist shaking plunder. It’s the only way to get that crap off “A.S.O.T.” “Nevermore” slows it down ‘a bit’, enough for a short pit-break before your personal “Apocalypse” comes on reentry. Get ready you stupid, stupid, stupid son of a bitch! Rose shined on the six minute instrumental opus “Dark Carnival” bringing the addictive emotional darkness and thrash poetry from his fingers. Something wicked as shit, this way came. The heavy pair of double D’s was shown in public again with “Deception” and “Devices.”

After the show Rose got his guitar neck signed by Skolnick and enjoyed a few surreal, inspirational moments with the guitar legend as did other members of Forces and other audience members throughout the evening.

The Last Waltz Live to Benefit WYSO 91.3FM

November 23, 2014 By Dayton Most Metro

Nearly 30 local musicians will once again gather on the stage of The DAI’s NCR Renaissance Auditorium to recreate the historic performances of The Band’s Last Waltz.. There will be two performances this year: one on Wednesday, November 26 and an encore performance on Friday, November 28. Proceeds from the concerts will benefit WYSO 91.3FM. Last year’s concert sold out – don’t wait until the last minute to get your tickets!Such a Night features many of Dayton’s most talented musicians, including a seven-piece horn section. The original film The Last Waltz featured performances by Dr. John, Neil Young, Joni Mitchell, Neil Diamond, Van Morrison, Emmylou Harris, Muddy Waters, Paul Butterfield, Eric Clapton, and Bob Dylan, and it documented The Band’s final concert on November 25, 1976.

Presented by The ‘Old’ Yellow Cab Building in Collaboration with The Dayton Art Institute. Cash bar available.