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University of Dayton Presents Heavy Metal for the Sophisticated Educated Ear

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Friday November 9, the hallowed halls of finer Dayton based education held a symposium on a subject of great interest, historical value, global impact and social significance. Four renowned highly educated intellectual professionals came to discuss a subject many of the student body loved and many around the word live as a lifestyle. Dr. Esther Clinton and Dr. Jeremy Wallach of Bowling Green State University, Dr. Deena Weinstein of Depaul University and Dr. Mark LeVine of California-Irvine all brought their esteemed, world traveled knowledge to enlighten us on the finer spoken points and high society standards of the world’s greatest musical contribution… Heavy Metal.  Sponsored by The UD Arts Series, Office of the Dean of the College of Arts and Sciences, Departments of Communications, English, History, Music, Sociology, Anthropology and Social Work.  Also the Roesch Library, Ryan C. Harris Learning Teaching Center, Alumni Chair of Humanities and Social Justice LLC and Service Club.
Each gave a different and unique presentation to a packed room in the Sears Recital Hall at the Jesse Phillips Humanities Center on the effects, sounds, culture, emotional impact, history and understanding of the genre as a whole and fascinating insight into its distinctive subgenres.
Dr. Clinton a professor of popular culture and teacher/writer of Folklore, Popular/Material Culture began her lecture, “Who has Access?- Comparing  the Moral Panic About Gothic Literature in the Late 18th Century and Heavy Metal Music in the 1980’s.” She made several comparisons to the themes of gothic literature and Metal such as the often used dark and stormy night verbiage used in novels which was present in metals earliest form, the first Black Sabbath record with its eerie downpour and looming church bell. The music sounds dark, using minor keys, reverb and the dreaded tritone. The theme of human/personal/supernatural evil widely used by Sabbath, historically becoming one of the genre’s biggest lyrical go to subjects was often symbolized by the dark characters within the gothic works. Moral panics were brought on by both forms of expressionism. The PMRC gave us the 15 worst song list questioning their lyrical content on the young minds of the time. Gothic literature gave woman a great sense of empowerment as they could control or influence men using their powers of persuasion. They were given strong roles, standing up to men and allowed to enjoy the more physical side of life in these stories which helped the female literacy rate go up. In 1870 a law was passed which gave women access to these ‘fun’ books which were passed around and shared much like the underground tape trading scene of the early 80’s. So if you lived back in the day and were luckily enough to get a presumably well- read, well-worn ‘early’ copy of Frankenstein, Dracula or the era’s first novel The Castle of Otranto it would be similar to a friend giving you a re-re-re-re-copied underwater sounding cassette of Metallica’s No Life Till Leather demo. Also the advent of cassettes along with malls, Walkman’s, Boomboxes and Ghettoblasters made the ‘then’ music media portable and easier to share and play. It also opened a huge market for the younger crowd as before records were more for adults.
Dr. Wallach, is the Associate Professor in the Department of Popular Culture and author of Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001 and Metal Rules the Globe: Heavy Metal Music Around The World.  He brought along some very unique sounds to his presentation, giving us a listen to some extremely rare demo tapes and bands from the farthest reaches of the earth showing that the sound of metal can incorporate almost any kind of instrument and will still sound ‘metal’. His topic of “Diversification and the Duality of Domination in Global Heavy Metal” was an eye opening look into just how far heavy music has spread to several parts of the world that the average headbanger probably hadn’t heard of.  Not your every-day types of metal included Celtic and non-English and with the bagpipes and accordion’s blaring there’s even a Metal Polka. Other unique instruments used were an Erhu (a Chinese two stringed bowed instrument) used in solo performances and orchestras, known as a Chinese Violin or Fiddle in the Western World. A Gamelan, an Indonesian group of non-interchangeable instruments meant to be played and tuned together from the islands of Java and Bali incorporating drums, gongs, flutes and plucked strings. The instruments are all built together on a decorative rack and are played as its own separate entity and are an integral part of Indonesian culture. Other multi-string music makers include the 13 string koto, Japans national instrument and a shamisen, a fretless 3 string plucked instrument similar but designed simpler then a guitar or banjo. Both have recently been used by Taiwanese Black Metal group Chthonic (pronounced thonic). A group formed in 1995 incorporating ghost paint instead of corpse paint and are still going strong today regularly playing festivals, arenas and stadiums. That’s right, a stadium level black metal band. When’s football’s over, Chthonic will come. While each of these instruments by itself would seem worlds apart and almost alien to the world of loud extreme music, each bands incorporates the sound and different playing styles into the loud sound in a way that doesn’t get drown out by screaming guitars. The instruments use itself is a statement of each bands distinct culture, mythology and history.
Next up the very well-backed up metal spoken word of professor of sociology Dr. Weinstein (she’s posing with Dio in the event booklet). Her body of work covers books, chapters and articles in professional journals ranging from sociology of rock to postmodern theory. She also writes music reviews and features for a range of publications and has authored Heavy Metal: The Music and It’s Culture. “Metal’s Malleability and Its Cultural Globalization” Metal has a name, image, brand just as Starbucks, Harry Potter and McDonalds. Metal music literary speaking shape shifts and can be twisted, torn, bent and reshaped into various forms of product and art just as actual metal can. All shapes though break from their original form. Visually metal bands are seen as strong, often using visuals of power whether in their artwork, lyrics or presentation, as real metal is physically strong. A Manowar album cover can be seen as artistically strong, showcasing its members as built and musically, physically appealing, while black metal bands like Gorgoroth and Mayhem use shocking images in personal appearance and stage presentation.  Though there are underground death metal scenes all over the US, where it’s more accepted, there is also a huge scene in Columbia and Mexico. The music’s sound like actual metal can be bent incorporating different sounds, agenda’s, personal messages, lifestyle commentary from different parts of the world. Take Overthrust from Ghanzi in Botswana a death metal band whose appearance reflects an old school biker look. Different cultures have used music as the only voice they might have to vocalize injustice, prejudice, and discrimination.
Dr. Levine is a professor of Middle Eastern history, holding a doctorate in Middle Eastern History and Islamic studies and musician recording/touring with Mick Jagger, Dr. John Ozomatli, and Hassan Hakmoun. He’s also authored Heavy Metal Islam and presented “Behind the Sun: Metal and the Roots of Revolution in the Arab World.” He showed a funny clip of MTV Arbia and talked about nations that just started to open their doors to metal music. In some countries playing metal either recorded or live and wearing t-shirts and having long hair is an arrest-able offense. In extreme cases some societies are so sheltered that the penalty for being a metal head is death so the music in underground in the most literal sense. Many fans embrace heavy music here because of its rare and sometimes almost inaccessible availability. In 1997, there were Satanic scares in Israel the government thinking the music made metal heads torture cats. They also thought the music made kids mentally ill due to the perceived and uneducated viewing of headbanging and moshing. Of several Youtube metal clips shown was a musician discussing that he’d only recently been able to wear his shirts in public and that he once feared for his life and that playing metal could cost him his life. One of the most telling and powerful stories was in 2007 Iron Maiden were the first major metal band to come to Bangelor India, ever, playing for 30,000 fans. There are Youtube clips showing fans openly weeping for joy that a metal show this big had finally come to their country. One funny but telling story was from a fan who sold his father’s shoes for ticket money.
As a historical preview Anthropologist Sam Dunn’s 2008 Global Metal Documentary was shown the previous week. The film follows Dunn’s whirlwind journey through Asia, South America and the Middle East as he explores the underground underbelly of the world’s emerging extreme music scenes. Genres explored include Indonesian death metal, Chinese black metal and Iranian thrash metal. Highlights include an entire mall in Brazil (home of Sepultura) dedicated to metal music. Former Megadeth guitarists Marty Friedman talking about Japanese fans giving western bands toothbrushes, which has nothing to do with oral hygiene rather the fans just want the bands to have something from their country. He also talks about Visual kei, a movement characterized by make-up, wild hairstyles and flamboyant costumes, resembling a mix of glam and punk. Pioneered in the early 80’s by Japan X and recently to a point incorporated by Dir En Grey, a more familiar to the Western world Japanese band. The musical style is unique as it shifts between shredding metal blasters to tender somewhat cheesy ballads. Imagine a Visual kei band playing Raining Blood, Don’t Know What You Got Till Its gone, Master of Puppets and More Than Words in that order and you’ll have an idea. After being closed off from the Western World, Tang Dynasty became the first Chinese metal band. In 1993 Metallica played in Jakarta Indonesia and due to the kids going into frenzy (releasing pent up anger from the government oppression and dismal living standards) inside and outside of the stadium all rock and metal shows were banned for years. The Desert Rock Festival in Dubai is the only metal festival in the Middle East and the only place where fans can come and safely show their devotion. It’s an epic monumental event bringing people from Lebanon, Bahrain, Kuwait, Aman, Saudi Arabia, Duheas among others. Another example of how metal starved this region was, is that there’d never been metal cd’s allowed and there’d also never been a metal show in Iran until 2004 when SDS (Seven Deadly Sins) played in Tehran and even then the audience had to sit down with the band playing covers including Morbid Angel and Slayer couldn’t have vocals due to metal’s perceived harsh and aggressive lyrics.  Dunn’s other films include Metal: A Headbangers Journey, Iron Maiden Flight 666 and the TV documentary series Metal:Evolution among others.

SITH, Forces of Nature, King Stench Cross Streams with Zuel at Hanks Pub

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Shadows in the Hourglass

Friday night November 16th  one of Dayton‘s long standing staples and supporters of local music Hank’s Pub hosted a noisy evening showcasing some of Dayton’s finest metal minions. Shadows in the Hourglass, Forces of Nature, King Stench and Zuel played like true metal masters, banging the heads of the cozy crowd. Offering a bullet belted buffet of heavy elements and styles. Not one head bang or evil growl was the same.

Bassist Zack Ryan and Travis Abling play passing away the sands of time delivering their two instrument musical torso. They’re missing the guitars and singer and they’re damn proud of it too. Carrying a show on four strings and some drums is a beautiful thing to hear when SITH happens. Nicknamed Showers in The Hourglass for the evening they bathed the crowd in deep bass patterns backed by fast intricate drum conversations. Ryans fingers played us into the dark caverns of the brain, the strings putting mental tip toeing, footsteps and running in the mind. There’s some funk with the shadows too. He shows off some skill fluctuating styles bringing Flea, Cliff Burton and Geezer Butler into the room. Abling lays the groundwork for Ryan to play with beating the crap out of his kit, in the nicest possible way. Sadly this was their last show of the year but as long as the Mayans don’t get their way they’ll be back next ‘13.

Forces of Nature

Next is the bloody reign of Slayer, Mudvayne and Pantera giftwrapped in barbed wire just in time for the holidays.  Only these Forces of Nature can control the Seasons in the Abyss. They break out the heavy artillery, pile-driving your head into a bulldozer. Singer Tate Moore screams and screeches sound like he’s trapped in a sewer drain lungs filled with septic fluid, spewing all kinds of nasty vermin. Guitarists Marc Godsey and Jimmy Rose trade crunchy, munchy guitar riffs torn off rusty chains of gristle. Johnnie Wallace plays the bass like it’s the deep voice of hell coming for you. Of course behind every four good big, bad, creepy metal dudes is always a better woman, who could probably beats the skin off of any drum head, the lovely Mrs. Shannon Godsey. The bigger Godsey plays with Kerry King goliath sound harnessing the bands dark live power. Playing with speed and Dimebag thrash he brings all the necessary demons howling out of his electric twanger. They opened with Magnus Lee, Nevermore (not the band), the feet stomping chug and Chromatic Death breakdowns of Mary Hates Herself.  Formed in 1999 and revamped in 2009, they’re a few years into their second decade of aggression. They play us the sound twisting, weaving tune with the twisted smiling face of the Dark Carnival. They play nice Throwing Fists just close enough to pleasantly assault the ear but not cause serious damage. They go from the stage to the mystery machine and deal out some serious shredding Scooby Snacks on EX-6-DEZMO. Forces of Nature bring all the elements and can play it all from breakneck guitar speed, seismic solos and slower melodic The Legacy type ballads and bringing down the lightning of the gods with instrumental material.

King Stench

There’s something rotten in Denmark, or Dayton which means there’s a foul stench in the air created by King Stench. His Dan Lilker looking highness summons the mighty forces of evil dark black metal unleashing an old school sound down from the deepest, darkest, backwoods used crawlspace. With possessed grizzly bear growling and a naturally dark aura they play homage to the forefathers of the macabre musical genre including Venom, Mayhem, Immortal and a horde of other corpse painters.  Mr. Godsey plays double duty on bass and the newlywed Hammering Hobbit plays the blast beat, deep forest outhouse bowels out of his drums. Yes, under Ohio law it is legal for hobbits to marry. Cess Pool on guitar rounds out this stinking pile of Hellish Odorous Local Royalty.  Hells Gate opens revealing the Putrid Remains of False Prophets. The Ungod would be proud of new tune Eternal Flame. Visions of the Goat Lord are next then we Fight for out Last Breath against the Hell Hounds, finishing with a Premonition of Devastation.  They’re single handedly playing out the demons from hell and bringing them to Dayton. Thanks guys.

There is no Dana, only Zuel. It’d seem like a no brainer to name your metal band after the feminine Gatekeeping minion of Gozer and sometimes drooling devilish canine worshipped by the Sumerians and Hittites in 6000 BC and subsequently overthrown by the Babylonian goddess Tiamat and banished to another dimension.  But the guys from Zuel decided to be even cooler, changing the spelling and name it after the red eyed devil dog that lived in Sigourney Weaver’s refrigerator in the mid-eighties. In Ghostbusting terms they very well could be the 35 foot long, 600 LB, Twinkie of local instrumental metal, “IF” you can find one. Born in the summer of 2009, they’re a band with no gimmicks, no trends and no scene hair, which’ve recently gone voiceless so now only the music matters. They come right out and hit us with a prog, Helmet style guitar prodding taste of Morbid Angel with a S—t Hammer in the b—s. They prove they truly are Bill’s Gate Keeper on Microsoft Rapture. They slowly build up with solid steel spiked steps, jerking and jarring with sudden starts, stops, jolts and snaps. They show off some easy going groovy jazz then speed up the sound race sending you sprinting down the stairs as a building collapse’s above you. They add a little Zep to their dazed and confused set of intricate instrumentalism.

Jazz Spotlight: Sinclair Community College + Upcoming Local Jazz Nov 21 – Dec 4

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Happy November 21st; the great saxophonist Coleman Hawkins was born on this day in 1904.  Check out Wikipeda at: http://en.wikipedia.org/wiki/Coleman_Hawkins for more information. 

What is Sinclair Community College?

This could easily be one of those “man bites off more than he can chew” items so lets keep it simple and say what is Sinclair in regards to jazz music. This season Sinclair is offering four Jazz Ensemble concerts with Bruce Jordan conducting and one Jazz Combo concert with Eddie Brookshire directing all in Blair Hall Theatre. Blair Hall is the College’s premiere theatre facility. The facility is an elegant 459-seat proscenium style auditorium that serves the entire community. Located in Building 2 alongWest Fourth Street, Blair Hall Theatre is the home of Sinclair’s Theatre department productions and Music department concerts. Check my local jazz calendar for the dates and times.

Sinclair College is yet another great asset to the Dayton Community that my wife and I, living downtown, like to take advantage of. I’d like to share one of their events that we attended last Saturday.  During their Community Wind Symphony as listed in the program “Concerto for Winds and Piano Right Hand (2012) – Stranger in Paradox with Jeff Hufnagle on piano and Christian Berg on Bass. A little over a year ago I received word that local jazz artist Jeff Hufnagle had a bad stroke, which left him without the use of his entire left side. Imagine how happy I was to have received the following: “Folks, This Is Great News! Jeff will premier Chris Berg’s Piano Concerto with the outstanding Sinclair College Wind Symphony.” An amazing performance with Jeff playing better with one hand than many with both. I also want to share Jeff’s email message: Even though playing the Christian Berg piano concerto is a miraculous milestone on my road to recovery, full recovery; playing with both hands, walking unassisted, driving a car, are still probably years down the road for me. Working with Chris and the Sinclair wind symphony has made me feel like a musician again and has certainly had a beneficial effect on me. Repairing the severe damage that was done to my brain is a slow and painful process that can’t be rushed I expect no miracles. The love and support of the local music community has kept me from sinking into the abyss. Peace, Jeff.         

Jazz Calendar

Here are some (not all) of the upcoming jazz events for the next couple of weeks:

Tonight Wednesday, November 21 – Tonight, for you dancers the The Dayton Event Connection offers an eleven piece “Pocket Big Band” and James Elliott Project Featuring Roger Baccus is at Zanzibar Brews in Columbus

Thursday November 22 – Happy Thanksgiving!

Friday November 23 – the Mike Wade Quartet featuring Khalid Moss will perform at Jazz Central  while Terry Murphy and Company Band is playing The De’lish Café both in Dayton.

Saturday November 24 – Jazz of the Month Club – Holiday Jazz Concert Chris Comer Trio is at the Cincinnati Public Library Atrium and the The NEW Ed Moss Trio is at Schwartz’s Point in Over-The-Rhine in Cincinnati.

Sunday November 25 – Roderick Wilson is at Huffies BBQ in Dayton and the Phil DeGreg Trio is at Dee Felice in Covington, KY.

Monday November 26 – the John Taylor Trio is at the Brio Tuscan Grille in Beavercreek and the Blue Wisp Jazz Club offers a Jazz Jam hosted by Sandy Suskind inCincinnati.

Tuesday November 27 – Park Street Tavern continues their Jazz Jam and the Tony Monaco Trio performs at The Rumba Café both in Columbus.

Wednesday November 28 – the Blue Wisp Big Band performs at the Wisp and John LaIacona is at Eddie Merlot’s both in Cincinnati.

Thursday November 29 – Tony Monaco is at Giammarco’s Pizza in Westerville, OH and the Rick Brunetto Big Band is at the 94th Aero Squadron Restaurant inColumbus.

Friday November 30 – Shawn Stanley Trio is at Carvers Steaks & Chops in Centerville, OH and the Thompson House presents Mandy Gaines in Newport, Ky.

Saturday December 1 – Roderick Wilson, Eddie Brookshire, Archie McPherson, Jack Novotny, Fenton Sparks & Clifford Darrett join to tribute the great Dizzy Gillespie at Dayton’s Jazz Central.

Sunday December 2 – a Live Jazz Party produced by Gene Walker is at the Hunan Gourmet Restaurant in Whitehall, OH and the Jazz Central Jam Session w/ Kenny Baccus is in Dayton.

Monday December 3 – Vaughn Wiester’s Famous Jazz Orchestra is at the Clintonville Woman’s Club in Columbus and the Jazz Cab is at The Greenwich in Cincinnati.

Tuesday December 4 – UD Jazz Ensemble & University Jazz Band performs at University of Dayton Boll Theatre in Dayton and the Park St. Tavern Jazz Jam is inColumbus.

 

More info and jazz listings can be found at JazzAdvocate.com

PsychoStick Will Rock You Stupid or Die Trying

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Psychostick

So, Gwar, Tenacious D, Chimaira and System of a Down walk into a bar to watch a Weird Al Yankovic show and he’s doing a signature parody about food, let’s say tacos.  Then all of a sudden he changes career long lyrical content to STD’s and weird sexual acts and starts screaming and cussing. Let’s say you’re at an S.O.D show and Billy Milano’s screaming his poetry of anger, hate, politics, speaking English and killing yourself, except this time, it’s funny. Imagine moshing in a circle pit to ‘lighter’ almost acoustic ballads laughing at the same time. If your presumably drunk feeble mind can harness the brain cell’s to merge the above descriptions together you’ll get an idea of what a PsychoStick show’s like.

The self-proclaimed humor-core comedy metal band from Phoenix take all the angst, anger, depression, gloom, evil, sadness and other nasty stuff in metal and make it funny with wink-face smiley emoticons. BTW (by the way), they’re coming to McGuffy’s Saturday November 24th, so deal with it…., and Toledo the day after.  Even though their big hit’s called Beer don’t drink too much at their show you might piss yourself laughing.  Lyrically they bravely tackle taboo subjects like singing about songs, food, Facebook deletions, Hollywood BS, number counting, caffeine, groceries, orange’s and other subjects most other bands don’t have the balls too touch… (yes, pun intended). They play an unforgettable show (no matter how hard you try as you cry yourself to sleep) with goofy props, lyrical parodies, loud metal and sometimes stop mid-song for band discussions, bathroom breaks and texting.

They’re celebrating the holidays the only way they can by bringing out the jolly old man’s dark side and inner evil on the Santa’s an Assh-… tour. So far, they’ve earned success, disgust and a devoted loyal following their own way self-recording, producing, and marketing themselves anyway they can, short of selling out or the world’s oldest profession. They have 3 full length CD’s out. Their first, 2003’s We Couldn’t Think of a Title, 2009’s Sandwich and 2011’s similar titled Space Vampires VS Zombie Dinosaurs In 3D. They also have a festive Christmas record out honoring the season in the spirit of Bing Crosby and Perry Como called The Flesh Eating Rollerskate Holiday Joyride featuring Jolly Old Sadist and Red Snow.

They’ve played and shared festival bills with an impressive list including Green Jelly, Mushroomhead, Slipknot, Slayer, Anthrax, Motorhead, Disturbed, As I Lay Dying, Godsmack and Megadeth among others. They’ve even played a show with the equally humorous Venom, Pig Destroyer and NunSlaughter. They’ve played 21 national tours in 47 states and were probably banned in the others. They have a few videos out including Political Bum which could be seen as a comical comparison to Suicidal Tendencies’ Institutionalized and there’s a video about feminize pectoral major’s too. If they take themselves seriously, they don’t show it but they are definitely serious about being dumb.  Dayton’s Amongst Villains, Cincinnati’s Sleeping Tigers and The Fallen join the bill.

 

Genitorturers Violate McGuffys House of Rock… Again

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Miss Gen of the the Genitorturers onstage at McGuffy’s House of Rock (photo by Mike Ritchie)

McGuffy’s known for a long storied history of bringing in the best local/national bands might also be considered one of the bravest. Saturday November 3rdthey brought back one of metals most ballsy and brazen acts both in performance, visuals and themes. The Genitorturers, Tampa’s answer to extreme Vaudeville meets sadistic role play meets simulated ‘physical activity’ brought the BlackHeart Revolution back to Dayton for another night of intense debauchery, naughty nemphoism, and general overall depravity. They’ve probably scared Alice Cooper once or twice too.

Not only did the crowd get a tour de force of tantalizing freak show tinsel town as the main event they got two more bands as different to each other as they were to their ‘dominating’ headliner. Tonight may have been one of the most musically diverse bills to play the Mcguffy’s stage.

The Campaign 1984 (photo by Mike Ritchie)

High energy openers The Campaign 1984 have been making dirty southern rock with a sexy cynical edge on the east coast since 2004. Namesake based on the George Orwell novel. Matt Anderson’s stage performance and presence is as much about the music as it his own facial delivery of lyrical themes and subject matter. You may not be quite sure what he’s saying here and there, though his vocals are clean you can tell from every comical/cartoonish expression, eye role, movement  that he’s having fun and feeling it whether it’s delivered in sarcasm or sincerity. They’ve opened for Slash, Buck Cherry, Jackal and Red among others. 2010’s Sessions marks their fourth CD showcasing an always evolving sound. Stand in line for this Black Country Communion whisky bottle in hand with some AC/DC style rock with a black magic edge and a bit of North Carolina BLS Pride and Glory.  The slobber nockered bluesy jam blasts off with Queen of the Damned about one of the nasties of the street lit evening underworld. We get some Hot Love from the Werewolves of the industrial revolution. Slingblade (not the movie) tells us about those special ‘scene girls’ who’ve probably earned their rep for being Dixie Dynamite. They leave us drinking from the triple X’d jug with a Kiss. The campaign’s a black top gravel in the face dose of full-tank high octane trucker road rock ready for the next all-nighter.

Close the Hatch (Photo by Mike Ritchie)

Dayton’s Close The Hatch is not as much a band as it’s a disturbing musical assault on the mind and the bizarre, noir images the mind conjures during their shows. Their music is almost instrumental except for the intense Crowbar like growls of Stephen Barton. They play music that dream weaves its way into your subconscious and mental lobes. They incorporate a slow heavy sound with a classical edge and effects giving off a weird, eerie melancholy ambiance. Feelings of trauma and trepidation seep off stage slowing finger crawling toward the audience like a misty apparition.  It’s a slow musical journey into insanity with straight jacket wall slamming and a little bit of blissful serenity added to the gloom. They’ve figured out what an acid trip during a suicide note would sound like. They create multiple moments playing serene surroundings putting the mind in places it’s not exactly familiar or ok with. Imagine being in the high of a high in the deep end of a pool, floating near the bottom looking up at the sun’s reflection through the murphy clear waves, under the induced tranquil state of peaceful serenity unaware of the fast approaching panic your body tries to warn you. That last moment of dreamlike calm when your eyes close, body shuts down and permanently drift away. They’ve captured it. This is music for serial killers with serious mood swings.  Musically they’re Meshuggah meets Tool mediated by Opeth with the Deftones hanging around.

The Genitorurers (Photo by Mike Ritchie)

Now ladies and gentleman, boys and girls it’s time to watch what would happen if Wendy O Willams was resurrected by The Great Kat and both joined the circus, the devilishly delightful hostess of dominatrix Miss Gen. Clad throughout the evening in leather and lace, cape and illuminating top hat she was always dressed to kill. Playing the devils concubine, she’s the femme fatale to Dani’s filth, the queen to King Diamond’s dark kingdom and the conductor of the traveling ritualistic Sodom and Gomorrah metal road show that is The Genitorturers. Where there’s no shame, no taboos, no act too shocking and no liquid or dessert topping too good not to indulge in. If you like your loud metal shows full of lewd acts, Gwar-like costumes champagne simulations and whip cream climaxes you’re in for a sweet treat. They emerge through a blood splattered entrance way opening with their smash hit Cum Junkie, mistress Gen plays with her toys including an incriminating shiny butcher knife, some cute altered baby dolls, a whip and a few humans with a fetish for perverse PDA’s willing to experiment and experience the genitorture. The cast of damnation includes cutters, pole riders, an adult sized baby fresh from the morgue, an overbearing/over ruling judge whose moral/Miranda authority’s quickly diminished by majority rule. It’s thematically an X rated show done with horror movie elements, plenty of depravity, industrial gothic sound, side show sizzle, Halloween hijinks and back room sex club perversity with a creative, artsy feel.  She pulls out the evil inside her with a Devil in a Bottle and some Jim Bean unleashing her inner demons into the mic. It’s time to do some evil things, play tempting seduction games with a lollipop and deflower some virgins. One scantily clad lady comes out and makes a religious statement. It’s a busy multi-tasking sex show, without the nudity. We’ll Take It anyway they wanna give it, no pain no gain. They’re Public Enemy Number 1 in Sin City and the moral justice police just gave up the chase. They finished up by vocally touching themselves and saying goodnight. Something wicked definitely came.

Alrosa Villa Celebrates 38 Years with the Voice of Queensryche.

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Since August 1974 Alrosa Villa has been a Columbus tour stop mecca for the world of music to come to entertain, perform and generally kick ass. The Villa’s been a staple of the northern Ohio music scene for almost four decades and continues to bring the best bands on all levels through its historic doors.   Besides hundreds of the best local and regional bands; a who’s who of rock n roll fame and infamy has come to ransack the place and play its hallowed stage. The royalty includes Ace Frehley, Peter Criss, Brian Johnson, 80’s legends/ hair metal kings David Lee Roth, Ratt, Bret Michaels, 90’s goth pioneers Type O Negative, one of metal’s Godfather’s Dio, the legendary Motorhead, masked men Slipknot, the southern charm of Jackal, White Zombie, Suicidal Tendencies, Devil Driver, Mushroomhead, Pantera, Korn, Overkill, Inflames, Lamb of God and countless more.
It’s fitting that Queensryche played a show here in the early 80’s as they’ve brought back the voice that helped propel the band to global success with eleven records, a collection of DVD’s and 20 million records sold worldwide. A man whose voice is one of the most listenable, identified, soothing yet haunting to hear and is responsible for verbal warnings, operating mind-crime, building empires, singing about the Promise Land then another frontier, calling out the tribes for Moore mind-crime and singing for the American soldiers dealing with the chaos. The voice, known as Geoff Tate joined the band, formally The Mob in 1982 after the success of the name changing EP’s title Queen of the Reich. The Metal umlaut aka rock dots above the Y is a Greek punctuation inferring unique pronunciation as they didn’t want a connection with certain parts of Euro history.

No Reverse Gear

His solo work includes the 2002 self-titled disc, guest vocals on Lucy In The Sky with Diamonds on Butchering The Beatles: A Headbashing Tribute, Summerwind on 2011’s Sin-atra and this year’s Kings&Thieves. Alrosa, Columbus and all those who attended had a blast hearing the man whose voice is synonymous with some of the all-time great metal songs/concept records and is Hit Parader’s #14 greatest voice of all time and recently voted That Metal Show’s #2.

The best of the local’s tradition continued as Columbus’s No Reverse Gear started the celebration playing some down n dirty southern jailhouse rock and catchin’ the Southbound railroad train to freedom blues. Backup singer Allix sings the soulful, heartbreaking blues behind lead singer/guitarist/patriarch Rod Knapp, who plays sly with the steel fingered guitar and harmonica. He does his time on stage with a smirk and smile telling us about all of life’s experiences, women and past and present hardships.  It’s time to go Home though the Dinal Festination isn’t clear. Life has No Reserve Gear so speed it up and live it up the best you can. A philosophy spoken by a man who’s band is definitely a family affair.

Roxy Mae

Straight from the most hair spray soaked, back streets punked out parts of Columbus come the three man band Roxy Mae. Named after a special working lady they’re as red blooded as any American male from Ohio’s capital. Playing a nostalgic aqua gel throwback mix of dirty garage rock, hard hair metal and pissed of punk they’d make anyone from LA Guns to Michael Monroe to Jetboy proud. Too bad they weren’t around in the mid-late 80’s they could’ve given Roxy Blue, Tuff and Britney Fox among countless others a sleazy run for Sunset superiority. The KMFDM wearing bassist Joe Estes is apparently the ‘punk’ of the group while black leather pants/bandanna wearing guitarist Matt Starr sported a gypsy/biker look complete with a time warp hair tease. Somewhere Phil Lewis and Faster Pussycat are smiling. Drummer JJ Kilimchuk has a lot of Joey Kramer in him. Playing their namesake tune, Dirty Girl and a tribute to Poison minus the makeup they showed what the new nostalgia sound of 2012 sounds like.

Louie Owings

Next up, one of the nights special attractions, guitar prodigy in the making, rockstar and future headliner in the making 11 year old Louie Owings took over the stage playing a crowd roaring rendition of the Star Spangled Banner showing knowledge beyond his years adding in a bit of Hendrix style. He would’ve done the tricks too but the guitar was almost bigger than him. After the crowd yelled for more, he encored showing off his chops and metal muscle with Highway to Hell. Raising hands for reaction, throwing up the thorns he sported genuine rock n roll prowess, letting out a rebel yell before taking a bow saying thank you and goodnight. Having a built in rock n roll family heritage the kids gonna be a star. Future appearances/autograph signing s and gigs can be booked through the Alrosa staff.

Level 7

Next up is quite possibly the most original cover band…ever. Level 7 play everything from the classics to the most recent and everything in between. They perform with such an addictive/bombastic energy if you didn’t know better you’d think the songs were theirs. In fact, they’re one of the only bands apparently brave, brazen and good enough through performance to play songs by Aerosmith, Alice Cooper, Black Crowes, AC/DC and Kiss making them their own. With over 140 years of collective industry experience they are a force in the Columbus scene rivaling any national touring band. While there’s a unique dichotomy within the band as half look like real bonified rockstars fresh from Cali and other half look like the guy next door mowing his lawn on Sunday giving them as a whole, the perfect look. Singer Doug Savage IS a rockstar starting at an early age with a storied local history and major LA and touring cred, rubbing elbows with Ted Nugent, Zakk Wylde and many others. He brings the attitude and over the top rebellious attitude of Sebastian Bach, the flamboyance of David Lee Roth and the look of Bret Michaels. Opening with some serious rock n roll thunder they slam into a bigger than life show and their version of Toys, it was a time travel transplant back to the west coast. They played a Remedy for our ears then made us feel 18 again. Their mega-popularity showed in the crowd though they’d only formed in 2009. If a cover band ever looked like they’d lived a few Behind the Music stories, Level 7 is that band. Though we were nothing close to Cumbersome, they played it anyway the band temporary becoming Level Seven Mary Three. We got some Sweet Emotion; very apropos being it was Savage’s first Alrosa appearance since 1987. I’m sure over the years some serious dirty deeds were done on that stage but for now we get a Jailbreak. They turned Columbus into Detroit Rock City then rocked out a finale like a Crazy Bitch. Guitarist Sean ‘Riff’ Green, a 20 year local hero plays with the intensity and skill of a tour seasoned pro. Guitarist Daryl Wolford brought part of his guitar arsenal, merging sound and solos with Green. Lennard James bassist stood an intimidating sight, resembling a giant metal beast giving fans the heaviest sound possible. Called “a walking definition of versatility” by Modern Drummer Magazine Marty Brasington lived up to the billing in spades.

Geoff Tate

Many things have been said about Mr. Tate’s voice and four octave range. Though the voice is only one part of the performance, using his hypnotic eyes, body language and motion to convey the deepest emotions in his songs whether, pain, sorrow, happiness, humor or satisfaction emerge. He tells a story with one intense look or stare, one quick motion or convulsion, radiating a unique aura of mystery, sensuality and class, showing off sexuality for the ladies while staying macho for the guys. He encompasses the world renowned global front man he is but also comes across like a regular guy at times. Wearing heart on sleeve he sings the songs he’s known for along with solo material old and new, sipping only the best fine Insania red wine during the show. He smiles along sharing interesting road stories, particular one about being in the heat of New Orleans walking into a large voodoo ritual and ending up discussing taboo subjects with a 70’ish year old lady. He also advised what to do when you get the ‘silent treatment’.  He walks the stage casually playing the every-day kinda guy talking to people having some good natured fun with the ladies. One fortunate lady’s hair got a personally applied douse of authentic Geoff sweat; it may never see shampoo again. Tate reminds us that no matter how high you fly, always keep one foot in the dirt.

Joined by long time collaborator Donny Evola on guitars he appeared onstage dancing to the tribal drum beat persuading us into the murky depths of Forever. We revisit Q2K on Sacred Ground then he leaves us Disconnected in the Promised Land sax in hand. This is real, this is now, and this is the first new Kings & Thieves tune delivering the sexy sax playing, cathedral mix of The Way I Roll. Tonight’s a reminder there are no rules, just open your heart and let it Flood. We’re all Helpless, drawn into the performance. We go back to The Real World from the Last Action Hero Soundtrack dedicated to composer Michael Kamen who Tate met in 1984 and worked on Suite Sister Mary and Silent Lucidity. There’s a few thing’s Seattle’s famous for, coffee, caffeine addictions and lots and lots of rain.  It’s just Another Rainy Night in Columbus. We go old-school on The Killing Words then new school and Take a Bullet for the Dark Money, In The Dirt. Yep, we Got It Bad but we already knew so Say U Love It. We all Walk the Thin Line with A Grain of Faith. He finished up telling a story about an emotional fan telling him about the best song he ever wrote that saved his life. You know, Silent in Tennessee. The night ended on a long trip with the Jet City Woman. Kings&Thieves, other merch, tour info and fine wine is available at www.geofftate.com.
The evening’s celebration was over and another packed house of sweaty, tired, hoarse fans leave the Villa adding their names to the long, ever growing list of satisfied concert goers to the Alrosa guest book. Whether you’ve been there once, twice or you’re an area regular, Alrosa Villa continues to be an intimate alternative to the huge rock arenas where you can actually almost touch your favorite Rock God and despite one tragic night, their reputation’s been solidified on its autographed walls and the streets of Columbus. In other words, they’re here for another 38years… and counting.

Jazz Spotlight: Taylor Moore + Upcoming Local Jazz Nov. 7-20

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Happy November 7th; The American trumpeter and bandleader Al Hirt was born on this day in 1922.

Because many people in our area may not know some of the better local jazz artists who perform regularly in our area I’ve been doing a “Who Is” opening in each of my recent articles. I’m deviating slightly in this article with a performer from Chicago:

Who is Taylor Moore?

I have seen this young lady perform twice recently at Jazz Central and was so impressed I decided to showcase her in this month’s Gabriel Foundation benefit concert this Saturday, November 10th.

While in kindergarten, she entered an Afro-centric after school program that offered the rhythms that had always been a part of her. Over the years, Taylor honed her skills playing classical music pieces as a member of the Kenwood Academy H. S. Concert and Marching bands. Her classical music training also included playing with the Protégé Philharmonic and the All-City Concert Band in Chicago, Illinois.

A lover of all kinds of music, this talented young lady branched out into jazz in her sophomore year, playing with the Kenwood Jazz Band and the Jazz Links Ensemble. Taylor was identified as a gifted percussionist and was a scholar in the Ravinia Jazz Scholars program in the Chicago Public School system.
This percussion phenomenon recently made her debut at The Jazz Showcase in Chicago, a premier venue which has featured such jazz luminaries as Art Blakey, James Moody and Charlie Parker, among many. Taylor one of the youngest headliners ever at the club and one of the city’s most sought-after musicians also performed at this year’s Hyde Park Jazz Festival.

Taylor Moore has played with a multitude of great musicians like percussionist Shelia E., singer Patrice Rushen, world-class drummer Ndugu Chancler, jazz pianists Willie Pickens, Ken Chaney and Robert “Baabe” Irving III, gospel greats Andrae Crouch and Sandra Crouch, jazz singers Kurt Elling and Maggie Brown, legendary jazz organist Rueben Wilson, and blues guitarist Clarence Spadey. She has also been mentored by music legends such as world renowned percussionist/drummer, Steve Berrios and Grammy Award-Winning vocalist, Cassandra Wilson, just to name a few.

A college graduate, Taylor received her Bachelor’s Degree in Music Performance (Jazz Drumset) and Production from theUniversity of Illinois at Urbana-Champaign on May 15, 2011.

The rhythm that attracted Taylor Moore from infancy has become an integral part of her life. Her drumming has been called “crisp, passion-filled, expressive and all consuming.”

Jazz Calendar

Here are some (not all) of the upcoming jazz events for the next couple of weeks:


Tonight Wednesday, November 7 – Tonight, for you dancers, the Lizz & Rex Quartet is at The Dayton Event Connection and Rich Lopez performs at Rigsby’s in Columbus.
Thursday November 8 – Cincinnati Contemporary Jazz Orchestra is at The Blue Wisp Jazz Club in Cincinnati and Puzzle of Light closes the Vectren Jazz & Beyond series at the Dayton Art Institute. Stay tuned for when their next season begins in March of 2013.
Friday November 9 – Roderick Wilson & Friends perform at Al’s Smokehouse & Café  while Terry Murphy and Company Band is playing The De’lish Café both in Dayton.
Saturday November 10 – Taylor Moore & Friends are doing a benefit concert for the  Gabriel Foundation at Jazz Central and Bob Baldwin with Songstress Toni Redd is doing a benefit concert for WCSU-FM at Gilly’s both in Dayton.
Sunday November 11 – Byron Stripling Band plays Blues and Gospel at Gallagher Student Center Theater, XavierUniversity in Cincinnati and Dayton’s longest jazz jam continues at Jazz Central.
Monday November 12 – the John Taylor Trio is at the Brio Tuscan Grille in Beavercreek and the Clintonville Woman’s Club is hosting Vaughn Wiester’s Famous Jazz Orchestra in Columbus.
Tuesday November 13 – Park Street Tavern continues their Jazz Jam and the Tony Monaco Trio performs at The Rumba Café both in Columbus.
Wednesday November 14 – the Dave Cousino Trio performs at the Wright State’s Student Union Hearth Lounge inFairborn and Cuban Connections is at Sears Hall, Humanities Center University of Dayton.
Thursday November 15 – the Generations Big Band is back at Jazz Central in Dayton and Thompson House in Newport,Ky host Jane Bunnett & Hilario Duran w/ special Guest Candido.
Friday November 16 – Shawn Stanley Trio is at Carvers Steaks & Chops in Centerville, OH and the Thompson House presents the Mike Wade Quintet in Newport, Ky.
Saturday November 17– the Jazz of the Month Clubpresents the Jamey Aebersold Quartet at the Cincinnati Public Library Atrium and the New Ed Moss Trio  performs at Schwartz’s Point in Over-The-Rhine both in Cincinnati.
Sunday November 18 – Roderick Wilson will play at Huffies BBQ and John Hampton Wagner will host the regular Jazz Central regular Jazz Jam both in Dayton.
Monday November 19 – Tia Roseboro & Vernon Hairston is at the Old Bag of Nails in Columbus and Jazz Cab plays at The Greenwich in Cincinnati.

Tuesday November 20 – Sinclair Community College Jazz Ensemble performs at Blair Hall in Building 2 in Dayton and Tony Monaco Trio is at the Rumba Café in Columbus.

 

More info and jazz listings can be found at JazzAdvocate.com

 

University Of Dayton Presents Heavy Metal Symposium

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It’s in Brazil, Israel, China, Morocco, the United States, Norway, and beyond.

It’s passionate, expressive, and can be used as a force for change.

Its fans are among some of the most devoted in the world, flying from all over to attend concerts of up to 100,000 people.

Listening to it is a punishable offense in Iran.

It’s heavy metal music, and contrary to what one might expect, it’s sweeping the globe, influencing young and old alike, and helping to form its own subcultures on nearly every continent.

Join scholars Dr. Mark Levine, Dr. Jeremy Wallach, Dr. Deena Weinstein, and Dr. Esther Clinton at the University of Dayton’s Heavy Metal and Globalization: A Symposium as they speak from personal experience and research, breaking down stereotypes about this style of music and explaining how heavy metal music has spread and impacted cultures around the world.

“When most people think about heavy metal music, they just think that it’s a bunch of guys with long hair and spandex… but research shows they’re a lot of good musicians and looking to affect change,” said Dr. Bryan Bardine, associate professor at UD and the organizer of the symposium.

From research on how the genre has bred an underground resistant counter culture in the Middle East, to why the music appeals to people of different cultures around the globe, these four speakers will explore an array of topics concerning the global spread of heavy metal music.

One international appeal to heavy metal music is in the messages found in its songs, which are often a call to end oppression and to embrace social justice.  For example, the members of Iraqi band Acrassicauda, having survived both the Gulf War and Iraqi War, focus on messages imbued with the struggle of living in an area rife with conflict, losing family and friends to war, and even having to flee from bombings during their own musical performances.

Bardine suggests that heavy metal music is a logical medium for conveying these messages.

“It’s a music that motivates them, it’s more intense, it’s more aggressive,” he said.

It is these messages and passion which pervade the genre of heavy metal music and render it so fluid across cultures, drawing its fans together to experience a bond that is rarely matched by any other genre of music.

Come to the symposium to explore the spread of heavy metal music as an example of grass-roots globalization while this genre is growing and becoming more diverse throughout the world.

As Bardine suggests, there’s good reason to set aside any preconceived notions about heavy metal music and take the time to better understand the genre and its broadening global influence:

“There’s more to it than just loud music, there’s more depth, and it’s not going anywhere.  It’s getting more diverse.”

The symposium will be held on Friday, Nov. 9, from 3-6 p.m. at the University of Dayton’s Sears Recital Hall in the Jesse Philips Humanities Center.  This event is free and open to the public.  The event is presented by the University of Dayton’s Department of English and Arts Series in conjunction with other campus partners.

For those who are interested, there will also be a pre-symposium film screening of the documentary, Global Metal, at 9 p.m. Friday, Nov. 2, held in ArtStreet Studio B screening room.

For more information about arts events at UD, visit www.udayton.edu/arts.

[yframe url=’http://www.youtube.com/watch?v=X9vVZ6Zxrho’]

(submitted by Lauren Glass – a senior at the University of Dayton, where she is studying journalism and working as a social media assistant for ArtStreet)

Dan Raridan and the Calientes Won’t ‘Give It Up’ With New Album

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I have been writing about Dayton and the music being played here since April, and one of the majestic things I have discovered is the people that I have met.  At the beginning of my journey, I couldn’t imagine where I would be headed, but I know that the road was going to be paved with excitement.  This past Thursday, another story was added to my book.  I arrived at the local establishment Tank’s, and I met up with local music artist Dan Raridan.  Dan is the lead singer of the band Dan Raridan and the Calientes.

I have previously met Dan recently at a show his band played at Canal Street.  Our exchange was brief, but the kindness he displayed to me was long lasting.  He came up to me as I was sitting at the bar, talking to another patrons that just was passing through town.  The patron heard from someone in town that they needed to check out Dan’s band, along with the other bands performing that night (Tim Pritchard and the Boxcar Suite, and Kyle Byrum).  Dan thanked each and every person that was at the show.  We sat down for a minute and he talked about how he was working on a new album, and it was near completion.  It was cool that he sat down with me, and we kept in touch thru social media.  So, when we met again at Tank’s, the night promised to be even better than that first meeting.

Pitchers of Guinness later, Dan (along with his friend, amazing photographer Gary Mitchell) and me dove into all kinds of topics.  We talked about the country of Costa Rica, and the wonder of how they don’t have an army.  We talked about surfing, as Dan is an avid surfer.  We talked about Mitchell’s photography, and the great places to do photo-shoots.  Dan gave me a CD that includes a lot of solo work from 2008. The night felt as if the three of us were friends for a long period of time.

Dan Raridan and the Calientes have recently released their newest work, Give It Up.  The album is longer than the band’s previous work, 2008’s Bus.  The album dives into a list of topics, with the garage rock influenced ‘Would You Liked To?’ which talks the beginnings of asking a girl out.  The moody ‘Sunshine In The Rain/Be My Love’ discusses losing the one that you love, and wanting them back.  ‘Dream With Me’ has Buddy Holly influences in Dan’s guitar play.  ‘Take This Ship To Shore’ has a Cali feel to it, with its laid back sound.

The band’s inception began back in 2008.  Raridan worked on many projects, diving into electronic music, performing at art shows, and was even DJing at one point.  It got to a point when Raridan wanted to do something different.  So, he picked up his guitar and started writing shows, and started going to open mic nights around town.  During this time, he met bassist Alessandro Cortez and drummer/percussionist Erich Reith.  The three met at South Park Tavern.  The trio played together briefly, as Reith was part of another local band, Puzzle of Light.  With the opening, Raridan met drummer Larry Smith.   Smith was part of a successful Clash tribute show.  Raridan fell in love with the drumming style of Smith.  He enjoyed it so much that he invited Smith to a rehearsal.  Immediately, the energy and the connection with the three men was there.  “I loved the moment that we started playing”, Raridan explained to me during our sit down conversation.  “Alessandro is such an amazing bassist, and have Smith playing with us, it was just so incredible.  The chemistry was there right off the bat.”  When I asked if that happens to most bands, Dan replied simply, “No.”  In 2010, Dan Raridan and the Calientes released their first album, Bus.  The album is heavily charged, with influences Smith’s time with The Clash tribute band, along with influences of Bruce Springsteen.   The end result is a passionate blend of rock, punk, and blues.  Here’s a video from the band during a set in 2011.  Song is called ‘Hold On’

[yframe url=’http://www.youtube.com/watch?v=MLeaKSHhujc&feature=youtu.be’]

Raridan has been working on this album for some time.  When we were at Tank’s, I noticed that Raridan had a notepad with him.  He explained to me that he writes at all times.  He gave me the example of him walking back to his place recently.  He noticed that there was a group of kids playing in the middle of his neighborhood’s road.  The joy and carefree attitude that were spilling all over the children paved way to a part of the notebook.  Raridan also writes a lot of poetry.  He showed me all of his writings in his little notebook, which also included one of the songs that are part of the new album, ‘Goodbye Terry’.

Dan Raridan has coyness to him that throws you off.  When performing with the band, Raridan brings everything to the table.  Every single emotional is thrown into the set.  When you sit down with him, he comes off a little shy.  However, when you get more into the conversation with him, you take notice that it’s just his style.  He is so laid back, and he is an emotional person.  When he talked about his band mates, he talked about the love and admiration he had for them.  “I love those guys (Alessandro and Larry).  They are my family”, Raridan said.  “They have given me the gift of their talent and time and love.” After our night at Tanks, I posted a photo of the album of his solo work he gave me onto my Instagram and Facebook profile.  I mentioned that it was very kind for him to give me this CD of music he did solo in 2008.  Raridan posted this comment:

It brings back great memories. 2008 was a pivotal year for me. I’m still floating from the love and hope and inspiration I received that year. I met Alessandro in 2008. And soon after, Larry… Meeting you has reminded me of that time, that spark. Thank you for that.

 I didn’t want that evening to end, as I wanted to hear more about Raridan’s thoughts.  His insightfulness was refreshing.  His appreciation about   everything, from me doing this article, the people that buy his music and see his band live (“The people that come to the shows are so important to me.  They give me the reason to keep rolling”), the love of Costa Rica (“I hope to eventually move there I love it so much”) to Gary Mitchell explaining that Detroit is one of the great cities to do photography gives you that comfort that he cares about you more than you think he should.  The next time Raridan and I met up, Guinness will be poured in our glasses again, and I am positive that night will be also added to my book.

To download the new album Dan Raridan and the Calientes, go to danraridan.bandcamp.com.  While you there, download the band’s  first album, Bus.

 

Signs of Life Fill The Floyd Void at Gilly’s

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The music of Pink Floyd has been described by many as timeless, emotional, epic, classic, genre defying, transcending and most important, immortal. They have an almost hypnotic mass appeal to so many generations separated by years and often decades. They’re one of the few bands mom, dad and the kids can all agree on, whether they’ll admit it or not. They’ve walked the line of being rock but not loud enough to hurt the ears but catchy, bluesy and soulful enough to appeal to almost everyone. No matter what level of fandom you’re at, you know a Pink Floyd song when you hear it.

By concept, visuals and most important outstanding, groundbreaking and pioneering musical precession they’ve stood the test of time and will continue influencing bands for years to come. You don’t see Pink Floyd, you experience them, you don’t listen to them, you feel them, playing right into your inner most senses.  Signs of Life: The Essence of Pink Floyd brings their stadium show into the theater/club environment. Creating the intense sonic audio bombast, intense eye popping visuals and space age, atmospheric trippy lighting that made Pink Floyd one of the greatest bands to watch, and hear, ever. Lead vocalist, guitarist Jon Stankorb plays a mean David Gilmour, putting his own vocals on par with one of music’s most iconic voices. Bass and backing vocals John Hoerr puts the same galloping, haunting sound on the four strings as Roger Waters. Rich Biondo creates the extra guitar sound and ambiance. Atmosphere master Tom Bartel effortlessly takes the legendary sounds surrounding Gilmour, Barrett, Waters and Mason created by Richard Wright adding his own intuitive interpretation making all the moods happen on keys and effects. Tony Sager fills the drum kit nicely for the one original Floyd member that appeared on every album, Nick Mason. Saxist, percussion and vocalist Dan Barger makes Floyd sound just as saxy as the original boys did. Reyna Spears and Akilah Ruiz sing out the majestic heart and soul of the band.

Their third visit to the Gilly’s stage, they emerge to a packed house In The Flesh, ready and welcome to the show. Pink couldn’t make it tonight but you definitely get the next best thing. Helicopter effects fill the room. We don’t need no education, no thoughts controlled or dark sarcasm in the nightclub. Hey teacher, leave those fans alone. The acoustics debut, Mother do you think they’ll like this song? Mother can Pigs fly? There’s one on the Wing. Yes son, they accompany the Dogs of war….welcome my son, Welcome to the Machine! So… you think you can tell, heaven from hell? (For everyone that wasn’t there) Wish You Were Here. Next up is 14 minutes of audio bliss, Shine On. The show’s first half ends with the guitar grinding roar of Sorrow.

They return with the sole intention of Learning to Fly…. One of These days. After the edgy guitar work and audio aura they calm things down and get nice and mellow. The performance is a shared experience of everything that made Pink Floyd, Pink Floyd, just Us & Them.  The somber tranquility is broken by the sensory shattering sounds of alarms, chimes and grandfather clocks followed by the slow dramatic guitar crunching buildup in Time.  The beginning plucked acoustic almost whispering strings and moody bass of Hey You followed. Then cash registers clanged, receipts were made and coins poured as the Money flowed. Next we took a trip back to the early 90’s and hear the Division Bell. It’s been said that Pink Floyd’s music is the closest thing to hearing the voices and sounds of heaven, this could be true but for now we’re happy to take a trip into space with the lunatic in our head for some Brain Damage and an Eclipse on the Dark Side of the Moon. Signs of Life makes you Comfortably Numb in a good way. They end with the guitar echoing stadium encore pleaser Run Like Hell.

Formed in 2009, they authentically capture the Pink Floyd live experience. They don’t just play the songs, they’ve engineered a concert going experience paying tribute, showing respect and adding their own spin, touch and take on the classics. For two sets the audience is bathed in the shimmering glow of stage lights and stimulated by Floyd’esk screen visuals and symbolism. They’ve played to packed houses and won over the most die-hard and hard to impress fans to the most casual radio fan. Their accuracy to the material is near pin-point while making it just different enough keeping their own identity. For the most part they play different sets every show, sometimes playing big hits early, doing lesser known material from the early years at different times but keeping an even balance and respect of each era and what a Pink Floyd set-list would look like. There’s little talking besides band introduction. The performance is complete delivery and respect of the music. If any band deserved a tribute it’s definitely Pink Floyd. Stankorb says hearing the sounds Gilmour made come out of a guitar inspired him to do the same. They’re not just up there playing the songs with guitars, drums and keyboards. They have multiple instruments changes, bongo drums, sax, chimes and other odd instruments that make the show uniquely their own. They’re also working on idea’s for bigger props like the physical brick wall and inflatable characters to bring an even bigger show to the fans. Indeed this is The Essence of Pink Floyd.

Jazz Spotlight: Phil DeGreg + Upcoming Local Jazz Oct. 24 – Nov. 6

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Happy October 24th; Well You Needn’t – First recorded for Blue Note (549) on October 24, 1947, it is one of Thelonious Monk’s most recorded and most popular tunes, and a very good example of Monk’s penchant for chromatic harmonic motion.

Who is Phil DeGreg?

Phil DeGreg began playing the piano in his childhood and now performs as a jazz pianist internationally. His earliest jazz influences were Bud Powell and Bill Evans, but he is accomplished and comfortable in a wide range of jazz styles, ranging from mainstream to bebop to Brazilian jazz. His versatility has led to professional performances with dozens of internationally recognized jazz artists, as well as leading and recording with his own groups. Phil DeGreg has released nine recordings as a leader and has been recorded as a sideman on many other jazz projects.

A native of Cincinnati, Phil completed a degree in psychology from Yale University before becoming a professional musician. After three years working and studying music in Kansas City, he finished a masters degree atUniversity of North Texas, and subsequently toured the world for a year with Woody Herman’s Thundering Herd. Later he was the recipient of two National Endowment for the Arts grants. He was named one of the 10 finalists in Jazziz Magazine’s 1995 “Keyboardists on Fire” competition, and was a 1996 finalist in the Great American Jazz Piano Competition. Phil has performed in clubs and concerts throughout the United States, and in the United Kingdom,France, Denmark, Germany, Italy, Guatemala, Costa Rica, and Brazil.

Phil considers music to be a gift and is dedicated to sharing his love of jazz through teaching. Phil was awarded a Fulbright Fellowship to lecture about jazz in Brazil, which he did for three months in the spring of 2008. He is currently Professor of Jazz Studies at the University of Cincinnati College Conservatory of Music, where he teaches jazz theory, arranging, piano, and ensembles. He has taught for the Jamey Aebersold Summer Jazz Workshops (since 1982), the UK Jazzwise Jazz Camps (since 1996) and has served on the faculty of the Blue Lake Fine Arts Camp, the Miami Valley Summer Jazz Workshops, and the Jim Widner Jazz Camps.

You can catch Phil at Dee Felice in Covington, KY every Sunday at 4:00pm as well as many other places in our area; check the Jazz Advocate calendar.

Jazz Calendar

Here are some (not all) of the upcoming jazz events for the next couple of weeks:

Tonight Wednesday, October 24 – Tonight, for you dancers, the Lizz & Rex Quartet is at The Dayton Event Connection and Dave Greer’s Classic Jazz Stompers performs at Neil’s Heritage House both in Dayton.
Thursday October 25 – Cincinnati Contemporary Jazz Orchestra is at The Blue Wisp Jazz Club in Cincinnati and Backstage w/TCarpe Diem & Speak Williams is at The Lincoln Theatre in Columbus.
Friday October 26 – Shawn Stanley Trio performs at Carvers Steaks & Chops in Centerville while Terry Murphy and Company Band is playing The De’lish Café in Dayton.
Saturday October 27 – Chez Norain in Covington, KY has Halloween! with Ricky Nye Inc. and Nighttown in Cleveland Heights presents the Greg Abate Quintet Featuring Phil Woods.
Sunday October 28 – Dayton’s longest jazz jam continues at Jazz Central in Dayton and the Phil DeGreg Trio is at Dee Felice in Covington, KY.
Monday October 29 – the John Taylor Trio is at the Brio Tuscan Grille in Beavercreek and the Clintonville Woman’s Club is hosting Vaughn Wiester’s Famous Jazz Orchestra.
Tuesday October 30 – Park Street Tavern continues their Jazz Jam and the Tony Monaco Trio performs at The Rumba Café both in Columbus.
Wednesday October 31 – the Tuxedo Junction Big Band is at The The Dayton Event Connection and the James Elliott Project Featuring Roger Baccus is performing at Zanzibar Brews in Columbus.
Thursday November 1 – The Dayton Art Institute Vectren Jazz & Beyond series concludes with on of their most popular offerings when Puzzle of Light returns. Stay tuned for when their next season begins in March of 2013.
Friday November 2 – Jazz Alive presents The Cohesion Jazz Ensemble at The Fairfield Community Arts Center in Fairfield, OH and the Thompson House presents the Eddie Brookshire Quintet in Newport, Ky.
Saturday November 3– Schwartz’s Point in Over-The-Rhine presents The NEW Ed Moss Trio in Cincinnati and The Jazz Kitchen offers Corey Christiansen in Indianapolis, IN.
Sunday November 4 – PAT KELLY’s PsychoAcoustic Orchestra will play at The Blue Wisp Jazz Club in Cincinnati and John Hampton Wagner returns to Jazz Central for their regular Jazz Jam in Dayton.
Monday November 5 – the Derek DiCenzo Trio is at Local Roots in Powell, OH and the Ed Moss & The Society Jazz Orchestra plays Schwartz’s Point in Over-The-Rhine in Cincinnati.

More info and jazz listings can be found at JazzAdvocate.com

Vandalia Vixens Ignite Spitfire Lounge

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A Clockwork Soul

Saturday October 13 three female powerhouse voices played the Spitfire stage. Some growled, some sang, some yelled but all carried and delivered one hell of a vocal wallop. Windowing Hollow productions once again books another kick ass show, this time showcasing the ladies. The evening also celebrated one brand new special lady in the form of W.H. promoter John’s new granddaughter Jalyn Michelle born at 1pm at 7lbs 1 ounce.

Up first A ClockWork Soul featuring blonde Amazonian bombshell Mystie Rose sporting steel coated vocal chords that growl, screech, yell and sooth the most gentle or jaded of ears. Dressed in black, sporting handcuffs, chains, biker attire and who knows what else, Rose has a ‘slightly’ commanding, dominating presence earning her femme fatale status. She looks like she belongs on any stage she chooses to stand on. A modern day Janis Joplin with attitude and a little Otep too, with a voice carrying the husky sexiness of Nina Blackwood that will growl you into submission and claw its way gently into your heart. She’s not the kind of girl who has to act tough, she legitimately looks like she could step into a cage and maim someone then sing a song about it.
Until The End carries a living on the mean streets, fight for survival desolation. Rose growls into the mic shaking with violent rage, eyes wide with killer instinct and a lioness’s fury. Tonight she lays claim to queen of the jungle. The soft synth waved intro of Out There is treated with her softer voice picking up fever as she goes. She sings with the voice of experience, carrying, delivering the emotions and living the stories within the songs. Count The Ways is all about that special someone we meet and think the search is over then find out she’s a complete psycho bitch. They do a very unexpected tribute to Don Henley with The Boys of Summer. I doubt any Henley song will ever be played that heavy or loud again. In conclusion, Out on the road today, I saw a ClockWork Soul sticker on a Cadillac, a little voice inside my head said ‘Don’t look back you can never look back.’

Gathering Mercury

Named after a song by Men at Work’s Colin Hay, Dayton’s Gathering Mercury play with a rock, metal, punk attitude all of which are reflected in singer/guitarist Ashley Stacey’s hot hairdo. The young runaway sports a remarkable resemble to Kelly Osbourne and Jane Wiedlin playing with the same rebellious heart and youth. Her vocals carry the attitude and cat like scratch of Joan Jett. While her influences range from Avril Lavigne to Pat Benatar to Pink, she’s been performing since age 9 which now would make her 18th year sound like a veteran age. Her style doesn’t carry the in your face soulful wailing of Janis Joplin but instead packages it in a more subtle but attractive manor.  She sings the songs with a mix of innocent breathy delivery, edgy feminine punk aggression and inherent cuteness with the seeds of success firmly planted. They play originals I Give, Not Too Late and Nothing To Me with a catchy indie rock flavor while the laid back bluesy Where The Others Go flirts with ballad territory every few minutes but sticks with its loud sound. They also showed respect to the music culture of the early 70’s playing some Rock n Roll Hoochie Koo perhaps louder than Johnny Winter or Rick Derringer ever intended. Bassist Quique Bucio even dressed up for the occasion.  They also decide to Paint It Black with The Rolling Stones and the wild frantic playing, soloing of guitarist Max Mobarry flipping his red mane around like his head was on fire.

Killed by Art

Today’s a good day to be Killed By Art. Though they play with a certain murderous skill their sound is nothing but life affirming to the ears. Singer Kimberly Weiss’s soulful gritty voice takes a page from 4 Non Blondes Linda Perry. They break out the best grit and grime of the good grunge. Roots plays with a down n dirty guitar dragging the water straight from the Louisiana bayou.  She pulls Joplin’s spirit from the other side incorporating it into her own tribute to the lost voices of history. CD opener Stolen starts out smooth as silk loaded with bass emotion slowly building up a few catchy up and downward spiral hills tag teaming with heavy guitar crescendos.   New tunes Down and Dark Hero were tried out and met with loud reaction.

The bands sound resembles a mosh pit mixture of Alice In Chains, Down, Fight and BLS. Weiss’s voice has an Eurythmic charm with lots of Heart and maybe a hint of GA GA. Their CD Habeas Corpus can be downloaded at www.facebook.com/KilledByArt.

Over The Rhine at Victoria Theatre

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Fresh off a boatload accolades for their recent Joe Henry-produced CD, The Long Surrender,OVER THE RHINE kicks off Victoria Theatre Association’s 2012-2013 Projects Unlimited Variety Series by bringing their latest studio album to the historic Victoria Theatre stage for one night only, Friday, October 26 at 7:30 p.m. Musical guest Joel Henderson will be the opening act. Tickets are available by visiting or calling Ticket Center Stage at 937/228-3630 or online at www.ticketcenterstage.com.

OVER THE RHINE, a popular southern Ohio-based husband-and-wife team of multi-instrumentalist/vocalist Linford Detweiler and vocalist/multi-instrumentalist Karin Bergquist, is known as Cincinnati’s own indie alternative/folk/Americana duo and has produced over 20 recordings. They have shared the stage with the likes of Bob Dylan, John Prine, Adrian Belew, Squeeze, Ani DiFranco, My Morning Jacket and Hem, as well as toured as “adjunct” members of the Cowboy Junkies.

Tickets for the OVER THE RHINE are on sale now at the Ticket Center Stage Box Office, located in the Wintergarden of the Schuster Center, by phone at (937) 228-3630, toll free (888) 228-3630 and online atwww.ticketcenterstage.com.

For more information about Victoria Theatre Association’s 2012-2013 season, visit www.victoriatheatre.com

About The Long Surrender

The record, released last year on OtR’s own Great Speckled Dog label (named for the couple’s Great Dane, Elroy), marks 20 years since their 1991 debut. It’s the bountiful result of a collaboration between the couple and producer Joe Henry, whose songs they’ve long admired.

“Joe has been quietly making records (well not that quietly, he has won at least two Grammys) that don’t sound like other records bring made,” says Detweiler.

“They are a little bit dark and cinematic and funky and unpredictable. It seems like he loves to help performers who have already covered a lot of miles — Mavis Staples, Elvis Costello, Solomon Burke, Loudon Wainwright III, Ramblin’ Jack Elliot, Mose Allison, Allen Toussaint — rediscover the soul of what they do in a new light.” The Long Surrender was recorded at Henry’s Garfield House studio in South Pasadena, Calif.

[yframe url=’http://www.youtube.com/watch?v=98fO4r-GzM0′]

Dayton Most Metro Ticket Giveaway

We have a pair of tickets to give away to see Over the Rhine this Friday 10/26 at the Victoria Theatre – just fill out the form below and then leave us a comment saying that YOU want to win tickets and we’ll draw a winner tomorrow 10/24 before noon.  Good luck!

CONTEST CLOSED

Congrats to our winners:

Scott Ryan

James Brytus

Kickstarting Local Musical Projects With Fan Funding

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Over the past year or so, we’ve seen several local bands turn to their fans for funding musical projects.  The Motel Beds, Me & Mountains and Jasper the Colossal are just 3 of the bands who have been able to release new material thanks to successful campaigns on Kickstarter. There are currently 4 great local music projects on Kickstarter*, some with a deadline just around the corner and one that’s just launched.

Deadline: October 22nd
Trey Stone’s first full studio album, Ahead of the Pack

Trey Stone is the former music director of Chicago’s famous Second City Theater.  He’s landed in Dayton, has been an active participant in the music scene for a while now and is looking to complete his first full length album. Stone has already begun the recording process at Dayton’s Cyberteknics Studio so project funding will go towards the mixing and mastering of final product. Ahead of the Pack will feature Stone’s blend of rock and roll and country with a bit of a funky New Orleans twist.

Deadline: October 26th
Help F.M. Records reach WORLD DOMINATION!

F.M. records goal is to help local and Midwestern bands reach both a local and larger audience through recording, pressing, and distribution, while keeping it all in house. Founder Dustie Pitstick says: “We have an insane amount of local talent, as we have for years. It’s time for everyone to realize that. By talent I mean bands, studio engineers, artists, shops to sell in, and some of the most loyal listeners anyone could ask for. We truly have all the key ingredients in Dayton, so why bother to snub all the great locals who help out and send our work elsewhere? We plan to keep everything in house, and really tap into the potential of a city big enough to have a great music scene, but still small enough to be a tight, self supporting collective… All while putting out diverse and amazing music from so many talented locals!”  Project funding will help F.M. Records stock up on the necessary supplies to release its first 4-8 albums, the profits from which will go toward funding future releases.

Mandy Jewell

Deadline: November 5th
Mandy Jewell’s 1st Professional Demo

Mandy Jewell has been part of the open-mic/Musicians’ Co-op scene in Dayton for many years and has a passion for songwriting, but she’s never released a recording of her music.  Jewell’s songs have an alt-country influence in the vein of Kathleen Edwards.  Project funding will go towards producing a full length album or an EP.

Deadline: December 10th
Triad a new album by James Murrell

Jazz guitarist James Murrell has been a staple of the local jazz scene for several years.  His new album, Triad aims to feature old and new material record in collaboration with local musician serving as guest performing and will be recorded in the Dayton area.  Short solo guitar pieces will also be featured on the album.  Project funding will go toward the recording and production costs for Triad.
To see videos and learn more about each of these projects, including the incentives for backers, visit Kickstarter and search for Dayton, OH.

*Note:  there currently aren’t any local music projects on Indiegogo, a funding site similar to Kickstarter, but there are quite a few local, independent film projects including Filmdayton’s Freak Club web series.  So if you’re looking to support local projects in other realms, check there as well.

Confirmed Dead Dick Hammer Sighting at Daddy Katz

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In a year of predicted end of the world prophecies and reported zombie attacks it only makes sense that the epidemic of the undead makes it way to Ohio, in October no less. It appears some of the undead where purposely brought here for our entertainment. It’s been proven that some zombies still have the skills and talent they died with and can still move with reasonably descent mobility and rock star swagger.  They even play nice, unchained walking around, mingling with their human foo…, counterparts patiently watching them willingly lower/weaken their defenses with strong mind numbing beverages.  Throughout the show there were several patrons that slowly with particular unintentional precision began imitating the walking dead resembling the awkward pace established in many a zombie flick. Whether this mirrored behavior was some kind of voodoo zombie dust used by the band to ensure a midnight snack isn’t clear.

But what I can say is, everything was cool when I left, what happened after, I can’t account for. All I know is that I woke up in one piece, unscathed. I’ve attempted contact with several other people without luck. Memories are still foggy and I have dream like memories of an older gentleman running around half crazy before the alleged attack and Dead Dick delivering a baby on stage but then again, someone could’ve put Zombie Absinthe in my Coke without me knowing.  After a few pots of coffee and several email queries later the following is my best recollection of events that transpired. I can’t accurately describe or prove everything that happened that night really did but as a journalist I have a public duty and commitment to the truth that must be adhered to. So… this is what I remember.

 

The Loveless

Daddy Katz, next door to Truth & Triumph Tattoo is a retro shop specializing in vintage antiques, costumed culture and everything and anything cool brought in the best local rockabilly, blues and country acts Saturday October 6th for a crowd of whooping, hoot n hollerin’ good ole boys, hot inked up biker chicks, some nice kittens, a few skirts, a broad or two, a few greasers and of course…. zombies.  Kinda like Roadhouse but everyone was ‘nice’. The bonfire was blazing and the party was jiving in the old backdoor garage tonight.

The Loveless, named after Willem Dafoe’s first movie was the first group to perform with Dead Dick watching quietly in a dark shadowed corner. The three man jam started out feeling a little Devilish. Guitarists Bret Cottongim’s wolverine sideburns were shaved razor sharp ready to fend off attacks if needed. He did some fancy finger dancing on HellBound, Dead End and the Dead Dick Hammer approved Grave Robbin’ about a doomed cemetery snooper and his girlfriend going to a cemetery lookin’ for a dead rich guy and he ends up diggin’ his own grave. Never trust a dame in a graveyard slick. Upright bass player Tommy Kirkendall plucked the thick strings with precession ready to use the grandfather violin as a club if necessary.  Happy days were back again with some easy ridin’ rock and blues with a southern twang.

Miss Cherry Lee and the Hotrod Hounds

Up next for your listening pleasure ladies and gentlemen, Miss Cherry Lee & The Hotrod Hounds. Opening up the first three numbers, stood the man in black (from the waste up anyway). Then Miss Lee made her entrance singing with the spirit of Rockabilly’s first lady Wanda Jackson with a sassy, sultry, swing.  They played tribute to the pioneers and forefathers of the genre as they rocked this town back to the good ole 50’s. She takes Kim Lentz’s fiery redhead flare on The Swing. She preaches from The Dresser Draw Bible (there’s no failure to communicate here) before they break out The Great Balls of Fire and watch Johnny B. Goode.  Tonight everybody’s got Rockabilly Fever and Miss Lee and The Hotrod Hounds mark their turf leaving us Breathless.

For those who’ve seen his face and lived to tell about it there’s an old legend that goes somethin’ like this. October 30th Richard Hammer and his trio, going to the biggest gig on their careers ran into some bad weather and somehow ended up at the bottom of the Green River. Now many many years later, freshly scooped out of their graves and ready to resurrect music from the evil clutches of the mainstream, Dead Dick Hammer and The TBA Band have returned to wreak havoc and bloodshed. But Richie wasn’t always a Dick, back in the day he was an honor student, big brother, on the glee team and captain of the football team. Later he relocated to Memphis and was a studio musician for some of the biggest names of the time, but due to copyright can’t be mentioned, (I would’ve asked but he flashed his rotting teeth smile at me stinking of fresh meat and I took the hint).  After his awakening his devoured his squeaky clean image turning into the dark, psychopathic, perverted, heartless but surprisingly well behaved Dead Dick we saw in front of us. At least while the crowd outnumbered his band anyway.

Dead Dick Hammer

Dead Dick’s biggest fan, a young lady of grave cadaverous beauty Miss Doreen Laveau tragically took her own life after the accident near the location of The Trio’s final resting place at Wells Family Cemetery in Temple Hill Kentucky. Such fatal devotion didn’t go unnoticed when Dead Dick and drummer Dr. (Doc) Kong unearthed her and through unknown/nefarious means gave her, her step back. Some say she was taken to a castle and electrified on a dark stormy night, but that’s never been proven. Now she plays bass next to her hunky, honkytonk hereafter hero like a good little living dead girl should. Undead drummer, Dr. Kong from parts unknown, actually he hails from the deepest darkest parts of the Amazon, and yes, you should believe him. A licensed professional witchdoctor by trade and this is what he said to me, he said…. well not much really besides grunts and ting tang walla walla bing bang. He deviously smiled at me reaching into his overalls so I stuck a business card in his mouth and ran.

 

Skull 13 makers of cool shot glasses, kreepy key chains, magnets from hell and other just plain weird stuff proudly presents straight from the cemetery gates of Plot 13 (gotta love irony) and the dirty dead six feet under south comes the rotting psychobilly creatures of undead dread Dead Dick Hammer & The TBA Band aka The Embalmers, for the Dayton show. He lets the crowd pick a new band name every show, lets them think they have some power over him. Leaving a dirt trail behind them with every step they played a set of high energy, nasty rock n roll hits and near victim misses. He thanked everyone for not shooting him in the head, yet. Performing with the slick swagger of his passed on pal The King, electric gypsy teeth playing of the wizard (he doesn’t eat nonliving things) and the classic duck walk of ole Mr. Maybelline. He also played guitar with a bike wheel. From what was left of his throat and vocal chords after a career’s worth of Jim Bean compounded by rot came the voices of a few famous rock n roll misfits including Glenn Danzig, the King of Graceland, and a little bit of Randy Travis. One look at Dead Dick and we have the unwanted answer of what Mr. Travis will look like, ten years after his demise. They brought along hell’s version of the good old time gospel hour. Dead Dick Hammer could very well be the darker more animated version of Hank Hill.  He promised everyone that came up and participated wouldn’t be followed home and stared at through the window.

The whole gang at Daddy Katz

They played a death defying set of daisy raising originals like My Baby She Like It Rough (a TMI tune of his personal life). Then came the Res-Erection the hard rock thumpin’ CD opener, the You-Tube friendly Last Call and another TMI tune from the black lagoon. They play an ode to poor sweet Annabelle and another for Sweet Sweet Connie, Dick promises he won’t hit cha but he will do something else.

All in all it was a great night of country rock n roll, drinkin’ and well behaved (for the most part) zombies. Representatives from Truth & Triumph were stationed, guns ready to give Mr. Hammer some new ink or slow him down in case he decided to give chase.   Skull 13’s other worldly connections came through and Dead Dick Hammer came to Dayton.

McGuffys Hosts Project Independent

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Project Independent the worlds ‘only’ independent metal showcase brought it’s traveling talent search to McGuffy’s, it’s only Ohio stop besides Cleveland, Saturday September 29th critiquing 6 bands each vying for a shot at the next level of competition and the coveted spot of Project Independent Featured Artist. Since its inception in 2006, founder/CEO Jeff Totten, a former member of Indecent Xposure and Raising Cain has traveled the world looking for the newest and hungriest home grown talent ready to show they’ll do whatever it takes to succeed. 2012 has taken P.I. across the country making forty-six stops choosing winners each night through a strategic point system based on musicianship, showmanship and workmanship and the competitions fierce for one of the richest prizes in the Indy scene.

To get on the list all Showcase Artists must register, make a deposit and presell tickets to earn spots. Totten says it’s the first step in seeing how much they’re willing to work for it. In return all performing artists receive promotional materials, special offers and are eligible to receive promotional air-play by Project Independent Radio. The day of the show bands are given a thorough 90 minute workshop explaining P.I., its history and a breakdown of the critiquing system. Included is a straight forward no BS discussion about industry issues on the business side including trademarks, copyright and distribution, and the roles of agents, promoters and venues. Totten warns you must be emotionally, mentally and psychically ready for this business and all the rigorous pitfalls and temptations that come with it. Many bands think they’re ready but they don’t have a solid understanding of the business dynamics. If fact he often tells musicians if you’re not serious and can’t handle it, quit, because down the road of success ‘THIS’ is what awaits you.  Totten wants bands already operating with a professional mind set and mission statement with their !@#! together that he can mold/prepare for professional opportunities that will draw people and numbers. He looks at how much they’ve already done on their own. He’s not looking for the weekend bar band.  He wants the next national/global touring act that wants to become household names. After each night’s Showcase he discusses his critiques with each band. So at the minimum all bands have written/verbal advice from a touring industry professional on where they are in terms of song writing, structure, performance, appearance and what they should do next.

The business is a lifestyle and he wants an artist that will represent the genre well.

In-cohesiveness is not an option. The industry is always changing, transitioning, adapting to new trends and of course… always looking for the next big thing. Speaking of, the best artists from each event will advance to The Final Selection Process and a shot at the Holy Grail of Indy Metal. The winner will be chosen in December determined by their Showcase Critique Score, An Industry Panel of record moguls, producers, touring musicians and fan voting….(no pressure). Voting polls open 12/01-12/30. In case of a tie, the artist with the most fan votes wins and will be announced as The Project Independent Featured Artist of 2012 on January 1st.

Prosper

The winner will receive a 60-day promotional tour with headline performances at each Showcase venue and a $5000 cash allowance. In addition they’ll get an industry showcase at The Whisky A-Go-Go in Hollywood, a crowned jewel in itself. One full length retail ready CD with 8-panel, Full Color On-Disc Printing, Barcode, Spine Label and Shrink Wrap. Distribution on Amazon, I-Tunes, You-Tube, Snowcap, etc. including a digital store with downloads, ringtones, CD’s and t-shirts. But wait, there’s more. Merchlive.com will offer the Featured Artist choice of $1000 dollars in Costume Merchandise. They also receive top quality equipment and upgrades from sponsors including but not limited to Peavey, Schecter Guitar Research, and PAiSTe.

So if you don’t think selling a bunch of tickets and performing/playing your ass off for 30 minutes is worth that then you’re definitely in the wrong business. Totten and crew told a few stories of band fights on stage and a particular sobering one about a band whose singer disappeared and the band had to cancel, two weeks later he was found shell-shocked saying he couldn’t handle the pressure. See, all Showcase Bands are not only performing for the crowd, fans and Project Independent, at each show there’s a four camera free webcast streaming live the whole night. So on any given night, 50-80,000 plus around the world are watching.

At some point Totten wants to produce bio segments about the bands, filling the between set down time and eventually have a 24/7 web based music network. You know, what MTV used to be back in the day. If nothing else at the end of the night all bands know where they’re at and what they need to do to move forward. The most important thing Mr. Totten wants made clear is WE ARE NOT A BATTLE OF THE BANDS!!!!!

An impressive list of Dayton/Columbus locals and Kentucky, West Virginia and Maryland’s finest filled out the bill. The Showcase began with state capitol’s Prosper opening with an incredibly unique light, catchy groove metal sound. If such a term as heavy bubble-gum music doesn’t exist, it does now. Singer Xavier McAllister’s words were surprisingly clear and distinguishable in his harmonies and it bears noting he did actually ‘sing’. Though dressed in flannel and thick beard, he hardly resembled the clean cut, suit and tie pretty boy look he was vocally borrowing. Guitarist Sam Ralph resembles Shadows Fall’s Brian Fair with a slight haircut and played the Cemetery Gates inspired Empty with a little bit of Dimebag in him.  Bassist Adam (Tree) Watson used all of his 6’8 to make an impression. I’d say he stood in the background but anyone standing front stage center back to Burkhardt Rd would say he was the background. They played a set filled with youthful energy opening with Horizon, a tune that you’d swear you were watching a heavy version of The Wonders. Symphony of Sinners was next followed by Angel which may be the new power ballad of this generation and the dirty/slightly grimy guitar sound of Disillusion. Their sound is a consumption/corruption of bubble-gum, 80’s, early 90’s metal influences revamped with a modern day delivery.

Johari Window

Louisville Kentucky’s Johari Window stormed the stage ready to assault, rage and decapitate. They definitely brought out the Carcass tonight for all to see and hear in all its smelly, stinky, grindcore glory. Singer Connor Hill even borrows some pipe work from Jeff Walker, including clean melody and a few other choice demon lunged deliveries. It’s Deception At Its Best. Some slow, dirty chug hits hard granite breaking sound with sledgehammer strength. Connor stalked the front row die hards ‘showing love’ screaming in their faces and trading fist bumps. Hey, it’s how some metal singers show affection.  Betrayer slowly slithers up to you with its unexpected slinky ‘charmer’ beginning then attacks like a drill-gun to the head. Just to make everyone do a double take they break out a keyboard which Hill plays on The Begging Dead, quite possibly ‘the’ heaviest song in mankind’s history to bear piano notes. A Johari Window was a psychological tool invented in 1955 used to help people better understand their mental instability. Not a bad idea for a band name considering the five-some could cost any headbanging/thrashing listener a brain cell or two.

Deep from the mountains and rough, jagged terrain of West Virginia come Elohim. It’s time to get freakin hateful yells Gibby Haynes look-a-like Tyler Lowe as the rough, gruff mountain boys throw out a sound as loud, strong and potent as the special ‘shine’ made in them parts. They play with a rapid fire acupuncture delivery that sounds like Bigfoot trampling over some very large rock formations. Their music is like a pick hammer to the temple inducing granite clusters and minerals to fall from unscaled heights. Lowe’s beastly growls sound like what might be heard coming out of a dank darkened cave late at night. Lyrically their very in tune to the Demigods, in Monolithic terms of course. I mean really, how many polycephalic (more than one head) beasts and monsters are in the average metal bands songs? They very well could be the ‘gods’ of mountain metal.

Alright gear-heads, time to rev up the engines with Springfields biker metal’s answer to Overkill meets Chrome Division, Chronic Aggression. Singer Joe Stafford spits out a raspy Udo Dirkschneider/Bobby ‘Blitz’ Ellsworth style and seems to have perfected the art of slow motion headbanging. There’s plenty of Motorhead menace and attitude to go around. They play us on a blazing burning ride on the highway to hell and you don’t have to be cursed to feel like your skulls on fire. Opening with If Only they played ReverbNation tracks 6ft to the Rythm, Your Demise and What You Gonna Do. Guitarist Issac Shotts played half the set sporting sunglasses so the futures gonna be bright.

The 10th Hour

2011’s Project Independent winner The 10th Hour took the stage showing why they earned the coveted title Featured Artist. Having a unique almost un-namable sound, they play with the ferocity that helped earn them the nod of Totten and approval of some of Hollywood’s elite judges. They get to play almost every night spreading the holy metal gospel. The 10th Hour comes when the bell gongs, Bryan Hillis growls Zim Smith/Ryan Eiker thrash out a smashing guitar sound playing off each other trading riffs, solos and some comedic comeradery. They perform like they really feel the music going through them. A minute into the 10th Hour they’re Silencing Trepidation and the loud angry beast within trying to tear through. We get Apathy’s Embrace and maybe the only 51 seconds of the hour that’s not loud. They summon the Nexus of Your Fears and it sounds pretty scary. New tune and You-Tube video The Incarceral shows a slower, softer but still dark sound and the inner hell of addiction. Travesty sounds like you’re in an underground street fight smashing against stone walls. Their sound is a mix of fast paced, pounding guitars, solos, vocal screaming/yelling and harmonious singing. A very different mix of musical mind-bending for the poor soul standing ready with a label stamp. Their CD Tides of Despair is as intentionally diverse and changing as their stage show. Once you’ve got an idea of who or what they sound like, the next song starts and your back to zero. Maybe some frenzied frustration’s a good thing but none the less they’ve procured the 10th Hour sound to perfection. Several tracks deal with the struggle/battle/war with inner emotion and torment. Each tune is of a different variety and delivery but carries a certain lyrical gloom with a sliver or two of hope cut through the warped planks. Tides of Despair lets the music do all the talking.

We finish with Dayton’s Coffin Birth Conspiracy a spooky scary movie blend of sound and keyboards intermixed with the shrewd rebellious evil of youth. Beginning with Haddonfields Curse, its October after all. We all love Halloween’s most lovable, namesake, silent killing machine right? Though the throat of the band Ian Overkill, looks just old enough to remember the re-makes.  They spread Dark Pandemonium everywhere Through the Depths enriching the atmosphere with icy shivers and murky ambiance. They should be writing soundtracks for Italian horror movies. Taking elements of 80’s, black and symphonic metal they’ve mingled and mutated into a catchy sound for any stage or movie screen.  Next we hear Wilhelms Scream, the song not the sound effect. Wikipedia has all the details. CFC is a six person horror film showcase in itself, no costumes needed.