No themes this time around, just an hour or so of great Ohio music past, present, and future. Lots of brand new stuff from Brat Curse, Kneeling In Piss, Fan Fiction, Water Witches, and more. We would love for you to go support and pre-order the new Aquabear Legion compilations right now if you could (campaign ends on 9/15) at igg.me/at/aquabearlegion and be sure to tell your friends and enemies. Enjoy the episode and make sure to subscribe, rate, share, and all those things too.
Brat Curse – “Modern Snakes” Pleasure Leftists – “Try the Door” Water Witches – “Stringfinger” Kneeling In Piss – “Song About Being Unemployed” Tweens – “Be Mean” 333 – “Cry Baby Cry” Van Dale – “Porch” Fan Fiction – “Back and Forth” Cutler Station – “Catacombs” Bassholes – “Microscope Feeling” Pale Grey Lore – “Sunken Cities” WYD – “Death” Machine Go Boom – “Niagara Falls” Brian Harnetty – “Neva”
STBEYtoo is back again with day three of the 2015 Nelsonville Music Festival. Saturday was a great day featuring quite a bit of sonic variety. From the musical Padawans of Stuart’s after school bands to the legendary Bassholes to the wildly popular St. Vincent, this one has every musical taste covered. Wait. That’s a lie. Most musical tastes. Whatever. What follows is a list of performers and how many minutes into the podcast you’ll find recordings from their sets. Consume the podcast in its entirety or skip ahead to your personal favorite. Enjoy, and check back soon for the final installment of Sometimes the Bear Eats You too’s coverage of NMF 2015. It’s only available right here on your one source for force!
Listen : NMF15 : Saturday
Dreaming of Soap (1:12)
Aaron’s Little Mixer (5:31)
The D-Rays (15:56)
Adam Torres (21:28)
My Bubba (27:15)
Sarah Neufeld (32:58)
Mike Elliott (39:01)
Todd Burge (41:25)
Soddy Daisy (43:27)
San Fermin (48:26)
Michael Hurley (54:12)
The Budos Band (1:05:54)
Natural Child (1:14:59)
Scott Hedrick (1:20:38)
St. Vincent (1:29:08)
Moon Hooch (1:41:44)
Here’s a list of Ohio bands performing at the NMF15
* Connections – Columbus (Featured on ABL Vol. 5)
Good English – Dayton
Bummers – Columbus
* The D-Rays – Athens (Featured on ABL Vol. 5)
* Speaking Suns – Yellow Springs (Featured on ABL Vol. 5)
* Weird Science – Athens (Featured on ABL Vol. 5)
* Dead Hand Of Man – Athens (Featured on ABL Vol. 5)
The Summoners – Athens
The Wild Honeybees – Athens
Chris Biester – Athens
Ryan Jewell – Columbus
Scott Hedrick – Athens
Ben Stalets – Toledo
Mike Elliott – Athens
The Teardrops – Athens
Bram Riddlebarger – Athens
Chris Monday – Athens
Nathan & Brendan Moore – Athens
Megan Wormz Bihn – Athens
* Weedghost – Athens/Fairborn (Featured on ABL Vol. 5)
Stuart’s Afterschool Bands – Athens County
Heatwave Dance Party – Columbus
Dj Barticus – Athens
John E. Clift – Columbus
Bassholes – Asheville, NC
Adam Torres – Austin, TX
Michael Hurley – Portland, OR
Big awesome show at The Union this Saturday, October 13. Cleveland legends Rocket From the Tombs will be joined by two of Ohio’s finest bands around: Obnox (featuring Lamont Thomas of This Moment in Black History,Bassholes) and The County Pharoahs (Chris Biester of Appalachian Death Ride, Scott Winland and Brandon Robinson of Dropdead Sons). Don’t miss this one. Tickets are available in advance at Haffa’s or at the door tomorrow night. Music starts at 10pm, don’t be late.
From the press release:
“The legendary Rocket From The Tombs, born in 1974, flamed out in 1975, have finally recorded a studio album, delivering “Barfly,” and closing the circle on an incredible journey.
The received wisdom (at least in America) goes that punk rock was invented in New York by the Ramones who reconfigured midwestern hard groove rock and 60s garage singles into a formula that defined punk: short, fast, catchy, and unstoppable. But in some weird parallel universe, punk might have traced its roots to Rocket From The Tombs, a Cleveland band that lasted less than eight months and never made a studio recording.
Three things went wrong for Rocket From The Tombs: a level of drug and alcohol abuse to worry even Keith Richard; a band volatility that rivaled that of The Troggs; and a turnover of drummers that would’ve flummoxed Spinal Tap.
One thing went right: in those eight months they wrote songs that would become punk anthems: “Ain’t It Fun,” “Sonic Reducer,” “Final Solution,” “So Cold,” “What Love Is,” “30 Seconds Over Tokyo,” “Amphetamine.” And they played them like there was no tomorrow. There *was* no tomorrow. They’d used up tomorrow. The band blew apart in July 1975 after an apocalyptic soundcheck that scared the bejeebers out of headliners Television. One faction went on to create the avant-garage rock group Pere Ubu, the other punk stalwarts The Dead Boys.
That might have been the end of the Rocket story except that over the next 25 years a frantic international trading of bootlegs bestowed on the band a legendary status. An album of live and rehearsal tapes, “The Day The Earth Met The Rocket From The Tombs” (2002), led to a nervous reunion in 2003. The core of the band – David Thomas, Cheetah Chrome and Craig Bell – remained from the old days. They were joined by Television’s Richard Lloyd who replaced Peter Laughner (died 1977). Pere Ubu’s drummer Steve Mehlman was drafted.
The fire still burned. For good and bad. Two tours produced extreme, brutal concerts, but also plenty of late night dust-ups in the parking lots of cheap roadside motels.
“We got that bad attitude thing in our blood,” singer David Thomas said. “Can’t shake it. But at least we’re not young, loud and snotty anymore. We’ve moved on. Now we’re *old*, loud and snotty.”
Taking that attitude in the studio produced “Barfly,” an unreconstructed, unapologetic re-affirmation of the power and glory of guitar rock: guitar solos traded between two masters of the craft, an inventive rhythm section devoted to midwestern groove mania, and a singer who learned all there is to learn from channeling Rob Tyner and Don Van Vliet. “I will amblify you,” Thomas growls in the middle of the album’s fierce opening track “I Sell Soul.” And whatever that might mean… he means it.
The bitter irony of “Romeo & Juliet,” the Cleveland / Detroit nexus of “Sister Love Train” / “Love Train Express,” the manic-obsessive drive of “Maelstrom,” the Robert Calvert sci fi dystopian romance of “Butcherhouse 4,” and the Bukowski grunge of “Pretty” reflect the 70s revisionism that is at the heart of the album’s production.
“Barfly’ delivers a sound that’s not dated or restricted to any passing fad or marketing infatuation. These men are ugly, old, and have not mellowed in any conceivable way. They’ve devoted their lives to raging against the boundaries, and they have been willing to pay the price. “Barfly” dismisses the last 37 years as a waste of time. Cuts it away without a second thought. That, in itself, makes “Barfly” worth the wait.”