EP Review: Nuclear Children

by Dave Schaefer

The Nuclear Children released their EP Wear Black and Come When We Call this past September (I know, I know, another late review...). Jason Matthew, Matthew Gene, Rory Daniel, Nikolei Mario make up the band with Jason taking the lead on mic and lyrics.

At first listen, the sound immediately brought back memories of the 80’s American indie underground -- that Reagan-era DIY sound that spawned the likes of Minor Threat, Minutemen, Butthole Surfers, Social Distortion and countless others. Putting together songs that had a certain depth, but were damn fun, always cynical, and seldom brooding, the underground bands of that decade -- both east and west coast -- had the rare quality of both striking out in fun and hitting where it hurts. The Nuclear Children capture some -- though by no means all -- of that old-school feel.

The EP overall is fairly diverse, as though they chose a different persona for each of the tracks, while at the same time sounding distinctly like themselves. Shades of Social Distortion, Ramones, and others seep into the songs without Jason sounding like any of them. And maybe that’s one of the reasons why the EP is so appealing -- it sounds like Nuclear Children, not Nuclear Children trying to sound like someone else. Some of the brilliance comes from the arrangement, simplicity, and sound of the background vocals.

Not every song hits the mark -- “Yoko Ohno” lacks something to make it interesting -- however, strong opener “Karma Sutra” does. It’s a perfect first track because it shows what to expect for the rest of Wear Black and Come When We Call. And for the most part, the EP delivers.

Here’s a track-by-track rundown...

Karma Sutra
This may well be the strongest track on the EP. It’s a good introduction to who Nuclear Children are and what’s to come. During the first 25 seconds of the song, you wonder if this is going to be same-old-same-old, typical, local music CD that’s tossed together on someone’s MacBook. But then the hook kicks in and you realize this might be something different than what you were expecting.

When Jason’s rough, somewhat husky voice kicks in, it doesn’t immediately match the lighter, more treble sound of the music, but it’s easily dismissed by the time his second line is sung. And before shades of a chorus even start, you’re convinced his voice was made for this music. The backup vocals are vaguely reminiscent of 60s pop, giving the song a light, innocent feel, even as Jason is singing of sex, cheating, and one-night stands.

Kamekazi O
The intro music on this track catches your attention immediately -- unfortunately, the first line of the lyrics (“No, we’re not gonna take it”) doesn’t. Primarily because it’s just too familiar of a line, but maybe it just brings back memories of 80’s hair bands. Jason doesn’t seem to give this song quite as much care as the previous track, delivering fairly monotone lyrics. Having said that, the appeal of this song is the dichotomy of Jason’s shouting-at-a-frat-party delivery and the upbeat, poppy backup vocals. A clever combination that works.

In The News
This is the most musically odd of anything on this EP. Piped with the high-pitched sounds of an electronic circus organ, it’s as if the notes were pulled from the background music of an old-fashioned carnival carousel. Given the lyrical content -- the sensationalistic bent of today’s “news” broadcasts -- the circus feel is likely fully intentional. And it works. The lyrics are brilliantly cynical and have serious content, but put forth in a completely tongue-in-cheek way that's ultimately appealing.

Yoko Oh No
As much as it sounds Butthole Surfer-ish, this track is fairly standard. Both words and music lack what the other songs on the EP have, so it’s easy to dismiss this as a yawner. It’s not that it’s a particularly bad song, it just somewhat bland and has a harder time standing out alongside the higher quality of the other offerings on the CD.

We Are Carbon
Unlike “Yoko Oh No,” this track nails it. Excellent lyrics about life and death (though mostly death) match up perfectly with a melancholic music arrangement that creates a great, feel-bad song. The perfect closer to the EP of a band that’s definitely worth keeping your eye on.

Upcoming shows:
11/29 @ The Basement (Junior Revolution CD Release Show)
12/14 @ CD101 Big Room (Andyman-a-thon)
12/18 @ Skully's (free show)
12/21 @ The Drunken Unicorn (Atlanta)

Ben Lee w/ Cary Brothers, Kate Voegele

by Dave Schaefer

This was one of those shows where The Basement serves as a perfect venue. Sunday night was Ben Lee’s sixth time in Columbus and his second time beneath the House of Crave. The show wasn’t a sellout, but it was close, which made for a great experience. That is, if you were where I was standing, which was right up in front of the stage. If you were stuck back by the bar, you may as well swig your Natty Lite and try to forget that somewhere a few feet away there’s a bit of a concert going on -- because you’re not going to be able to see a damn thing anyway.

The first opener for Ben was a petite little thing by the name of Kate Voegele. I admit to having never heard of the Cleveland native, but after just one song of her too-short, four-song set, I was determined to hit the merch table and pick up her CD. There’s a pop/folk sound to her music that was appealing, heartfelt and fun. Nothing too deep and certainly nothing complex, Voegele won over the crowd by the second song with her personable chit chat and gee-whiz personality. I was really hoping she’d come out with Ben during his set and sing the Mandy Moore parts of the duet “Birds and Bees,” but it wasn’t meant to be. It probably didn’t help that this was Voegele’s first night with the tour.

The ever-popular Cary Brothers was up next. Cary has a following of his own and there were many people in the crowd that were there specifically to see him. He’s an incredibly talented singer/songwriter that has the ability to create a mood with his live music that at one moment is melancholy and deep, yet at the same time isn’t depressed shoe-gazing. He had a lot of fun with the crowd and the crowd had a lot of fun with him, tossing banter at “Frank from Philly” and fans buying shots for Cary’s guitar player who was celebrating his birthday that night.

After a surprisingly short interlude, Ben Lee entered the stage. He’s joined by Nick Johns on this tour, choosing not to do the full-out rock/pop show this go-round, but instead doing a stripped-down, semi-acoustic version of his music.

Ben’s been doing this for a very long time and it shows. He’s completely comfortable on stage and he performs with an ease and simplicity that’s unpretentious. Within the space of the first two songs, you truly believe Ben is a really nice guy. By the middle of the set he’s your friend. Afterward, when he comes out to talk with fans, you believe that your his friend too.

The performance was filled with songs both old and new, from “Grampaw Would” through his new release “Ripe.” The set list taped to the floor in front of his mic had more than 60 songs on it. He’s “going with the flow” with this tour -- playing whatever strikes him whenever it strikes him. The only caveat is that he tries to lump them together -- ones that require Nick on stage, and those that don’t. It gave the evening a fun, haphazard and organic feel. You knew you weren’t getting the same exact thing as wherever they played the night before.

Ben has such a huge bevy of songs to choose from that he doesn’t typically have standards that he plays. However, that’s changed over the course of the last three tours. “Catch My Disease” is now a standard during the “encore” (I’ll explain the quotes in moment) -- his only (and modest) hit from his previous album. The other has become an anthem for both him and his fans -- “We’re All In This Together.” This is the second time he’s unplugged his acoustic guitar, tossed aside his mic, and sang this song with the audience as the final farewell. It creates an atmosphere of unity as everyone sings along and where Ben becomes backup to the voice of the crowd.

But back to that “encore.” This has become his new trademark to end his show. Instead of pretending to finish the set like so many other singers and leaving the stage completely intending to come back and play the final songs on their set list, Ben and Nick simply turn their backs to the audience as the crowd cheers for an encore. In the meantime, they're chatting, pretending to wonder if the crowd will want them back, then in a larger-than-life move, they turn around and act surprised and in awe that the crowd called them back for more. It’s very tongue-in-cheek and very funny.
And that really sums up a Ben Lee show. Hilarious, charming, serious, and most of all, fun.

Central City Recording: The new player in town

by Dave Schaefer

Depending on who you talk to, Columbus may or may not be the Indie Art Capital of the World, but it’ll be the Indie Music Capital of the World if Andy Dodson, Max Lewis and Ben Miller have anything to say about it.

They’re the owners of Central City Recording, Columbus’s newest recording studio located on High Street in Clintonville, just south of North Broadway. With an interior painstakingly designed by Andy himself, the facility is deceptively large, state-of-the-art, and, well, as cool as a recording studio ought to be.

Instruments are lined up everywhere -- from a vintage Fender to a 1965 Wurlitzer piano. Keep walking all the way back, past the glassed individual studios surrounding the engineering station and through a set of double-up doors and you’ll find a sound-proof rehearsal/jam room.

But, aside from all that, what perhaps sets Central City apart is their philosophy, which is embedded with a commitment to both this city and its local scene. After a quick tour of the place, I sat down with owners/producers/engineers Andy, Max and Ben, along with their marketing and promotions team Zac Goble and Erik Smith, and talked to them about Columbus, the local music scene, and their plans for both.

“We’re all from Columbus,” said Andy. (Erik’s from Cleveland -- all “Ohio boys” as Erik put it.) “And this is a great city for music -- it’s full of talent.”

To them, there was no question this was where their new venture would be located. Andy again: “Columbus is known as a pretty good microcosm of the US in general, so our whole theory is if a band can make it in Columbus, they can make it anywhere. Why would you want to jump out of something like that, where you have a really good opportunity to test your music and really get it out to the whole area all at once? When you go to Chicago or LA, there’s more agents and more this-and-that, but to get out to the fans you’re one of a billion there. So we’d like to get the word out about Columbus and let people know that you can get heard here.”

Ben: “A lot of the bands make the mistake of wanting to move out to LA or they want to move out to Texas.”

“You can do all that here,” added Erik. “You don’t have to go to Chicago or New York.”

“Ultimately,” said Andy, “the goal is to give people the opportunity to make a living from making music.”

Andy, Max and Ben have been in bands together since they were in their early teens. Andy went to school for recording and latched onto the idea of opening a studio. After spending some time in Michigan, Ben moved back to Columbus and the three of them began working to get the knowledge they’d need to make the idea a reality.

“About two and a half years ago, Ben and I went down to the Recording Workshop in Chillicothe and took some courses down there. We came back, got jobs at Guitar Center, started learning, started meeting people. Eventually we got a business plan, got investors, pitched the idea, got the space and we’re here.”

“The three of us have always had a keen interest in the recording process,” said Max. “When we were a band, we didn’t play live very often -- what we did relish in was the recording process. So if we’re connected strongly in any way, it’s that most definitely. And this felt natural for us to start.”

“If we’re not going to be rock stars,” Andy added, “we should help other people be rock stars.”

Now that things are up and running, I asked what the biggest challenge was they’d faced so far.

Max spoke up right away. “The construction.”

Andy agreed. “ That’s the biggest thing. We kind of did this all ourselves. The design was my design with the input of these guys and our contracting team, but we didn’t have a general contractor, so we all had to learn how to get through the city process and all the code enforcements and stuff like that. At the same time, we had to build a space that was spec’ed out with double walls and double doors and things that aren’t necessarily what they want to see in a place. So I think construction was definitely the biggest hurdle. The biggest so far.”

The next hurdle is getting their name out on the street in the ears of the local talent. Although grassroots efforts are important -- flyering, going to shows, partnering with businesses, etc. -- Zac says they believe strongly that helping the local music scene flourish is the key to their own survival. They noted bands such The Receiver, Triceratops, El Jesus de Magico, Necropolis, and Two Cow Garage. “ We’re local music junkies,” Andy added. “That’s a big part of why we’re here. This town is full of talent and we’ll do anything we can do to help the scene.”

Now that their idea has become reality, the guys at Central City believe that success is imminent.

“Between all of us,” said Zac, “we’ve got a lot of good people and contacts in the industry from all over the country and especially in Columbus and we can use that to our advantage and really help some people get to where they want to be. You don’t have to go sign to a major label and work with all those agents in LA and NY -- we can do that stuff here. Here in Columbus and here at Central City.”

• Columbus's newest recording studio opens its doors
• Ben Lee at The Basement
• Local music: Philo releases their debut CD
• Local music: Nuclear Children
• and an update on Columbus: Indie Art Capital of the World

Concert Review: Avenged Sevenfold at The LC

by Andy Vogel

It was cold as hell this past Saturday waiting outside The LC in a line that wrapped around the block. There were so many flippin’ people! The show kicked off with bands full of a bunch of Axel Rose wannabes – the kind that just get drunk on stage and have that whole redneck rock bullshit mentality. Yet, it was all worth the wait for Avenged Sevenfold.

You couldn’t see shit because of all the people and you started to smell like shit because of all the people, BUT you could hear A7X rip some remedies and solo faster than a drunken trucker going in circles on 270.

Lead singer M. Shadows looked like a husky man beast. He makes Danzig look like a sissy. The way he puts off his evil smile between screaming is lethally awesome. Even drummer The Rev had a killer voice. He chimed in with roaring support while slamming on his drums – it was pure talent. The guitarists even went bonkers with Synyster Gates soloing every song for about five whole minutes.

The fans were pleased, even though most weren’t able to see jack shit. Everyone sang the words and everyone jumped up and down when hits like “Seize the Day” and “Unholy Confessions” came on.

A7X could be the next Pantera, lets just hope they don’t tour at the Al Rosa.

Concert Review: Electric Six w/ 1990s, We Are The Fury

by Dave Schaefer

Much like Andyman’s Treehouse, there’s a love-hate relationship with The Basement. Cramped, dark and low-ceilinged, the venue is a strange concoction of hallway, billiard room, bar and music hall, chopped up and tossed together like a second-rate Tarantino flick. The stage is a small space that’s slightly larger than the mens room at the Blue Dube. It sports low-hanging pipes and beams that the establishment’s management was kind enough to mark with florescent tape so the onstage band doesn’t hit their heads (a regular occurrence). With the large columns holding up the House of Crave above you and the stage -- save for the small pit -- at the same level as the rest of the floor, it’s nearly impossible to see anything unless you're in the pit itself or standing in the first row around it.

Still, even with all its downfalls, I have an affinity for this venue. With a space so small, you can’t help but have an intimate experience with the bands that your watching. It creates a personalized experience where even a bad band can appear to have some redeeming value. It’s as though you’re watching them in your living room. A very very small living room.

On Friday night, all three bands that performed didn’t need The Basement’s intimate ambiance to help impress the crowd.

We Are The Fury
First up was Toledo, Ohio’s We Are The Fury. Starting the show with danceable rock with a poppy slant, the band seemed to surprise the crowd with their better-than-expected set. Of all the bands, these guys came off the most as slick marketers of themselves. Normally, this would be a bad thing, but due to the brand of music they played and the amount of energy they displayed, their slick appearance -- and lead singer Jeremy Lublin’s glittered face -- was easily tolerated.

1990s
After frantically clearing the stage of We Are The Fury’s equipment, 1990s -- hailing from Scotland -- began setting up. Normally this wouldn’t be much in the way of entertainment, except that drummer Michael McGaughrin -- wearing his anti-rockstar Noah Bennet hornrims -- began setting up his drum set on center front of the stage, surprising many in the crowd and caused a flurry of snapshots as he toiled through the process mere inches away from the frontline of onlookers.

Once everything was set up, 1990s put on a truly incredible show. The band’s sound blends inane lyrics with old-fashioned pub rock and the band was having as much with the music as the crowd in front of them. Immensely charming guitarist/vocalist Jackie (sometimes John) McKeown (formerly of The Yummy Fur) was fairly amazing with his command of the strings and McGaughrin showed the crowd that all that time he took to set up was by no means in vain. Bassist Dino Bardot of Stinky Munchkins -- who’s playing tour stand-in for Jamie McMorrow who quit 1990s in September -- is hugely talented. Too bad they can’t keep him.

By far the majority of the people at the show had no clue who these guys were, but just a couple songs into their set the crowd in the bar started noticing them and soon after were packed in the small space to hear the band perform. By the middle of the set, they had won the audience and by the end -- and after a spectacular mini improvisational jam session -- the crowd were nearly cheering them into an encore.

The Electric Six
But most everyone was there for the headliner -- Electric Six. The constantly-smiling Dick Valentine delivered a show so effortlessly entertaining that you realize the stage is where he belongs. His bizarre, sarcastic wit is evident with each song played and his every word and movement fairly drips with nudge-nudge wink-wink cynicism. At the same time, Valentine can come across as somewhat disinterested, as though he were perhaps thinking of how he might go about separating the darks from the lights in his laundry when he got back home to Detroit. Those in the know, however, are aware that he wasn’t thinking that at all on Friday night -- because if he was, he would’ve had no qualms about saying so.

The six-piece barely fits on the stage at The Basement and given a bit more space they perhaps would’ve been more dynamic, but amongst the dancing and general mood of drunken fun, the crowd didn’t seem to mind. As evidenced when the first chords of “Gay Bar” began to be plucked on The Colonel’s guitar, which sent the pit audience into a moshing frenzy.

Their performance was pure, unadulterated -- or maybe adulterated -- entertainment. Exactly what's expected from Electric Six.

Electric Six @ The Basement Nov. 9th

by Dave Schaefer

Electric Six is coming to The Basement this coming Friday, Nov. 9th. In tow will be their unique brand of alt/pop dance tunes that you can’t help but move to. At the same time, you can enjoy the lyrical cynicism that injects each song with a sharp wit that makes it more than superficial neo-disco. These guys are clever with their music, but at the same time, clearly don’t take it too seriously.

The band is touring to support their latest release, “I Shall Exterminate Everything Around Me That Restricts Me From Being The Master.” The title is taken from a George Grosz drawing of the same name (shown at left). Grosz was a post-WWI German artist that excelled at criticizing -- and satirizing -- the new German republic with its upper-class capitalism and excess in the midst of a nation in desperate need. His decidedly leftist bent often depicted the upper class and those in power with bitter humor.

Although lead singer Dick Valentine states that it’s general excess that inspired the CD’s title, it’s tough to not see the larger intention of pulling the name from Grosz’s sketch. One of the standout tracks -- “Down at McDonaldz” -- depicts the intent of his drawing nearly perfectly.

And you can consider all this deep meaning as you dance wildly to their live show. “Danger! High Voltage,” “Gay Bar,” “Dance Commander,” “I Buy the Drugs” and “Randy’s Hot Tonight” will surely be in the mix. And if you’re really really nice to them, they may even throw in “Naked Pictures (of your mother).”

Now that's a song in need of deep contemplation.

Electric Six
w/ 1990s, We Are The Fury
Friday, November 9, 2007
The Basement

Be a part of the revolution

by Dave Schaefer

Well okay, maybe it’s not a revolution, but it’s at least a realization.

Cities are always making declarative statements about themselves, attaching clever catch phrases aimed at pulling in tourism or creating a media buzz to grab attention. Many aren’t true and most are, at best, a misrepresentation.

Not so, with the latest of Columbus’s hopeful titles: “The indie art capital of the world.” It’s partly due to the fact that it’s not the city that’s promoting it, it’s a grassroots effort started by a couple of guys from the local arts community. And they’re simply stating something that’s already true. In their words: “The spirit and business of making art (or anything for that matter) is ingrained in our city’s DNA. There are literally hundreds of different expressions of indie art in Columbus. From dance, film and visual arts to literature, music and even advertising.”

The effort was launched at the end of October by artist Mike Reed, a member of the Couchfire Collective which is the organization responsible for the Agora arts events. Joined by another local artist, Daniel Fox of skreened.com, the movement will culminate with the first Columbus Indie Arts Conference in 2008. The conference hopes to feature both locally and nationally known artists and innovators and “celebrate the rich cultural Arts tradition of Columbus.”

Says Fox: “Independent Art and Columbus Ohio have always had a strong connection. Our independent spirit extends from crafters to entrepreneurs, from the music scene to theater and beyond. There’s so much going on here just under the radar.”

Although the campaign is currently grassroots, the plan is to go beyond that to involve Columbus leaders outside the art community, including Mayor Coleman, and taking this independent movement and giving it mass appeal.

And ultimately solidifying Columbus as the true indie art capital of the world.

For more information: indieartcapital.com

The group will have a brainstorming session on Sunday November 11 at 11:00am at Junctionview Studios (889 Williams Ave., which is just off of Northwest Blvd. between 5th and Goodale). All are welcome. However, they emphasize that you don't have to attend to be a part of the effort. They encourage people to participate in their own creative way, which is the true spirit of the indie arts scene.