MAIDEN RADIO is Julia Purcell, Cheyenne Mize, and Joan Shelley. The band hales from Louisville, Kentucky. They’re an old-time trio, favoring traditional songs from their home state, re-arranged for 3-part harmony (and three of the loveliest voices you may hear). While showing a clear reverence and love for the great singers of the past, their music is timeless and beautiful, and the original compositions played at their shows (and that are occasionally on their recordings) are indistinguishable from the tunes people have been listening to for ages and ages.
“MAIDEN RADIO [the record] is a catchy and appealing debut, filled with a collection of traditional tunes that are as easy to listen to as they were casually recorded. Lullabies makes a great companion to MAIDEN RADIO, and if you combine them in the same playlist on your music player like I have, I assure you that it will be in your steady rotation before you know what hit you.” – No Depression
“MAIDEN RADIO is a group whose soothing vocals simultaneously wrap the audience up and cut to their soul.” – WAVE 3 News
BEHIND THE TIMES is a Detroit, MI-based trio (featuring former Louisvillian Benjamin Teague) whose instrumentation is fiddle, guitar and mandolin, and three-part harmony. Their repertoire is mostly old-timey and bluegrass songs, as well as some originals, popular tunes and jazz standards.
Please note: due to a scheduling conflict, BEHIND THE TIMES will be performing as a duo on Sunday night, instead of a trio.
“Hey Mike-Thanks for sendin over the latest from ENDLESS BOOGIE. So ‘Long Island’ makes, what, their 7th trip around the vinyl horn? You gotta give it to’em, they’re style of blast don’t ever get old. I once seen Boog Powell in this post game, after he’d hit two dingers off the A’s, & the interviewer asked “do ya ever get tired of blastin’em over the fence”? Boog ruminated this for a second, gave way to scratchin his head, then locked eyes w/the natterin pipsqueak, smiled & said ‘NOPE”!. And look at him now? The king of Baltimore BBQ.
So I was thinkin ENDLESS BOOGIE is in the same class (okay, hold the Baltimore & hold the BBQ). Who don’t love’em? Mike, even GIRLS BUY THESE RECORDS. There ain’t no better testimonial to greatness than that! Let the pencil-neck ‘n fat bottomed crit boys yammer on about comparisons to Coloured Balls, Trad Gras, Velvets, etc. At the end of the day it’s the sonic stats that get pasted into ENDLESS BOOGIE‘s page of the Rock & Roll Almanac. And in them annals they’s battin 1000%. Pitchin’s solid to boot. So it seems a mystery to me why’s anyone would have to reach into the hyperbolic ether to pull down accurate tags. I mean, shit, ‘Long Island’ could almost be the second coming of ‘Brain Capers’. You know? I can see you makin that pissy- ass face of yours, & sure, a Mott The Hoople comparison is about as psychedelic as an onion. But you know who liked onions? Ollie fuckin Halsall for one. They say he ate his the same way Kevin Ayers breeze through life – pickled. Don’t think for uno momento that Norberto ‘Pappo’ Napolitano didn’t consume tons of the allium genus in his lifetime. The man ate’em slathered’em on grilled beef every day of his life liked it growed on trees! To say nothin of the band Troyka, whose member, Ron Lukawitski was THE originator of the Bloomin Onion. But that’s yrs ago, up to Edmonton, Alberta at a little place called Harry Hill’s where is was known as the ‘Puckered Fist’. I reckon they figured it was a well kept secret. How’s Outback Steakhouse come to….procure….the recipe is one of life’s great mysteries. Now I ain’t no licensed shaman but these ears don’t lie. And they’s insinuatin that ‘Long Island’ is chock full’ve more phenols ‘n flavonoids that you can shake a brace’ve Groundhogs albums at. And Mike? If you’s is still in the throes of menopause, I have it on good authority that Top Dollar’s voice is so witchy that it can destroy osteoclats, thus keepin them delicate bones of yours safe. The same was said about Ariel Bender’s back in the day too. But only when he was Luther Grosvenor. Tellin, don’t you think? Now pass the relish, I think I’m Patto.”
Roland Seward Woodbe
sent from the pay phone at Ding-Dong Dell’s
Scalp Level, Pa 2012
Fans of the aggressive cacophony of Louisville’s Young Widows may be surprised when frontman Evan Patterson’s restrained acoustic guitar greets them at the top of …It’s Jayle Time!, the debut full-length from Patterson’s singer-songwriter alter ego JAYE JAYLE. The record follows the eponymous protagonist through a fever dream of sex, booze, loneliness, and demons out on the barren range of New Mexico. In the studio, Patterson is joined by a loose assemblage of Louisville musicians that includes Jonathan Glen Wood (of Old Baby), Lowe Sutherland, Jim Marlowe (Tropical Trash/Astro Black Records) and more. Eschewing a traditional LP release, …It’s Jayle Time! will be released as a series of limited 7″ singles throughout 2014. First up is “Pull Me Back To Hell” b/w “Evil Windows”, out in January via Sophomore Lounge. Subsequent singles are expected to arrive thereafter through Hawthorne Street Records and Jade Tree.
It’s been almost five years since DEAD RIDER unleashed its brand of dark psychedelic funk. Since that first show in their hometown of Chicago, IL they have produced three LPs, toured the United States extensively, and played a handful of UK gigs including the ATP festival in 2011 and 2012. A few great players have been in and out of the group in that time. Todd Rittmann (vocals, guitar, harmonica), Andrea Faught (synth, trumpet, vocals), Matthew Espy (drums), and Thymme Jones (synth, trumpet, vocals) have been the current lineup for the last two years and have furthered the band’s reputation as a challenging and entertaining powerhouse. Their most recent album, Chills on Glass, was released this spring by Drag City.
Watch the video for DEAD RIDER‘s “Blank Screen” here:
TROPICAL TRASH have caused quite a stir with their two 7″ records, Fear of Suffering, and Think Back Kick a Beer, both on Sophomore Lounge. Still Single describes TROPICAL TRASH as an “Excellent combination of thrashing energy and solid ideas that break apart and recombine in novel, tuneful ways.” They’re just as thrilling live as on record, so don’t miss this opportunity to rock out with ‘em!
Much like Hubert Stencil in Thomas Pynchon’s classic debut V., we’ve been searching high-and-low for information. Information on a different V., not some obscure name or some Maltese spy plot. Not looking for Victoria, Vheissu, Vesuvius, or Venezuela. Nope, we’ve been looking for something more obscure… this year’s lineup for CROPPED OUT. AND HERE IT IS! With, as usual, The Other Side of Life’s PICKS-TO-CLICK in bold:
WE’RE BACK.
Mark your calendars. Water your balloons. Buy a top hat for your newborn baby human. Cropped Out V is upon us…
SEPTEMBER 26-27
American Turners Club
3125 River Road, Louisville, KY
SEPTEMBER 28
(Closing Party)
Fresh Start
Proudly starring:
The one, the only…
THE SUN RA ARKESTRA
(Under the direction of Louisville’s own treasure and traveler of the space ways, Mr. MARSHALL ALLEN)
ANWAR SADAT APACHE DROPOUT
AUSMUTEANTS AXIS: SOVA BELGIAN WAFFLES
BODYCOCKTAIL
COUNTER INTUITS DAN’L BOONE
ELSINORES FLANGER MAGAZINE
JP5 LITTLE GOLD MA TURNER
MAIL THE HORSE
MARRIAGE MICHAEL CHAPMAN NATHAN SALSBURG OBNOX
PILE
PROTOMARTYR PUBLIC HOUSING SAPAT SHIT AND SHINE SHUTARO NOGUCHI SPIDER BAGS
SPRAY PAINT THE REBEL THREE LEGGED RACE
TIGER HATCHERY
TOTAL ABUSE TROPICAL TRASH URINALS VADERBOMB WHITE REAPER
WISHGIFT YONATAN GAT
PLUS: food trucks, record vendors, local artists/artisans, merchant booths, beer, friendly people, jerks (will be asked to leave), lawn chairs, horseshoes, basketball, shitty tattoos, killer views, campfires, fun, and more!
ALL AGES (alcoholic sodas available w/ proof of age)
EARLY BIRD (DISCOUNTED) WEEKEND PASSES (both full days plus closing party) NOW AVAILABLE at ASTRO BLACK RECORDS or ONLINE at:
Day breakdown/schedule and single-day passes to become available shortly. Hang tight…
CROPPED OUT is a 100% DIY, independently-developed gathering of musicians occurring annually in Louisville, KY, USA. Now in its fifth straight year (time flies when you’re lacking funds), this charmingly strange and truly unique event highlights the creative efforts of Louisville natives and fellow thinkers from the backwoods of Kentucky to neon glow of international metropolises.
A VERY SPECIAL THANK YOU to our homeys at Monofonus Press for their generous assistance with helping us organize this year’s event!
More details, including band descriptions, are gonna be on the way soon. In the meantime, gather together your whole sick crew, and make plans to get CROPPED OUT… for the Vth time!
AUGUST 1st TROLLEY HOP – EARLY AMATEUR FILMS OF KENTUCKY AND BEYOND
with special musical guests to be announced
Friday, August 1st
at DREAMLAND 810 E. Market Street (in the alley behind Decca Restaurant)
Film screening from 5 PM to 8 PM, live music to follow
The event is FREE and open to the public as part of the Republic Bank First Friday Trolley Hop.
Presented By
Heather Stone, Assistant Curator of Special Collections
Aaron Rosenblum, Assistant Curator of Special Collections
If you missed The Filson Historical Society’s packed June 13th screening of this rare, amateur film footage of Louisville, Indianapolis, and the region, here’s your chance to see it at Dreamland!
In 2013 The Filson, with support from the community through a Power2Give.org fundraising campaign, preserved three historic films from the Judge Arthur E. Hopkins Collection. Judge Hopkins (1881-1944) was a Louisville attorney, judge, alderman and member of the Board of Directors of The Filson with a passion for film and photography.
(A towboat pushing a barge up the icy Ohio River in the winter of 1933 – Still courtesy Filson Historical Society.)
For the past year Filson archivists have worked to bring these historic Louisville films back to life. Join us at this screening to see these rare scenes of downtown Louisville, Indianapolis, the Kentucky Derby, Bowman Field, Cherokee and Iroquois Parks, and more!
The films will be shown at Dreamland (810 E. Market St., behind Decca) on a loop throughout the event, with a Kentucky-themed soundtrack curated by Nathan Salsburg of the Alan Lomax Archives. Filson staff members will be on hand to provide historical information about the films. Refreshments will be available.
(The Judge Arthur E. Hopkins film collection was recently discovered in the original canisters and trunks. Photo courtesy Filson Historical Society.)
TOUCH AC is an up-and-coming Louisville hip-hop artist who, when not creating and performing spoken word poetry and hip-hop music, “enjoys hot wings. ”
Comprised of electronic drums, keyboards, bass, and effected guitar, VISITING NURSE features long time collaborators Jon Hill, Mike Seymour, and Syd Bishop creating music that seems to somehow straddle the gap between the organic and inorganic, a cyborg pastiche of jazz influenced composition, and rigid structures. For fans of Boards of Canada, Clams Casino, and Biosphere.
Local electronic wanderer SHEDDING strikes up the modular synth and sparks fire for this unique evening of joyous sounds.
Monday, June 23rd at NACHBAR 969 Charles Street (at the corner of Charles and Krieger)
9 PM, 21-and -over FREE!
WOODEN INDIAN BURIAL GROUND formed in Portland, Oregon in 2007. As a duo the band employed banjo’s, chord organs, fuzz guitars and other various instruments, making a glorious racket across the Western, Central, and Southern United States. This incited an 11 track album of lo-fi experimental folk tunes that they self-released in 2008. The band grew in numbers and influence, playing shows under various names with various members until settling down with a stable lineup and signing with the Mon Amie record label in 2010.
Watch WOODEN INDIAN BURIAL GROUND‘s video for “Helicoptor” here:
After a bit of a hiatus and some lineup changes and whatnot, GANGLY YOUTH of Louisville, Kentucky return! Their sound is a mix of jangly noise, fuzzy pop, and a no-perfection required style. One might be reminded of bands like Sonic Youth, The Pixies, or warped cassettes playing favorite pop songs.
Watch GANGLY YOUTH play “What’s Yr Weirdness” live here:
Cynthia Norton is a contemporary artist who lives and works in Louisville, Kentucky. Influenced by folk aesthetics and the history of her surroundings, Norton’s work employs music, video, mixed media, and performance as her country-music alter ego NINNIE, in a manner that combines feminist thought with local and vernacular imagery inspired by the cultural traditions of the rural South, specifically of her native Kentucky. While often combining these mediums, Norton uses the portrayal of the traditions, readymade sculpture, storytelling, and technology. Her works often have a “homespun” quality — from self-made musical instruments, constructed from suitcases and tennis rackets, to liquor stills that consist of buckets, copper tubing, and pressure cookers — while her music ranges across blues and country classics sung in a warbling voice, to haunting dirges that recall the mysteries of mountain culture. These makeshift elements combined with her quirky persona — complete with old-timey Southern costumes fit for the country music star — all attest to Norton’s creativity and inventiveness. Fascinated by the culture of fictional celebrity that pervades amateur Country Music contests in the South, Norton employs NINNIE as a surrogate to address the struggle for women to be seen and heard while her ingenuity transcends ordinariness and revels her to be the Everywoman of Country and Blues. Norton’s most recent solo project opened at PAFA on March 2, 2012 in the Historic Landmark Building using paintings in the collection as sounding boards for a group of four video/song works, two installations, and four prints, which reflect variously on issues like the historic portrayal of women in art, paternalism and colonialism, and the vernacular forms of folk culture. Mixing high and low art, the exhibition creates a counterpoint between PAFA and its fine art collection and the cultural and musical history of the artist’s Kentucky home. Much like her performances of altered country and blues songs, the project is not an attempt to satirize these histories but, instead, to critically-and sometimes humorously- engage with ideas about myth, power, and identity. Cynthia Norton received a BFA from the University of Kentucky and an MFA in Time Arts from the School of the Art Institute of Chicago. Over the past decade, Norton has exhibited and performed extensively in the USA, Europe, and Asia. In 2005 she was included in the exhibition Nowhere during the Styrian Autumn Festival in Graz, Austria, and in 2008 her work was featured in the exhibition The Old, Weird America: Folk Themes in Contemporary Art, organized by the Contemporary Arts Museum, Houston.
Watch “Ninnie Naive Documentary 1994” here:
R. KEENAN LAWLER is a guitarist who has collaborated or performed with a wide range of forward-thinking musicians and mavericks including Rhys Chatham, John Butcher, Eliott Sharp, Charalambides, Ignaz Schick/Perlonex, Kaffe Matthews, Burning Star Core, Jason Kahn, Ut Gret, Kevin Drumm, Helena Espvall, Ian Nagoski, Alan Licht, Taksuya Nakatani, Bhob Rainey, Eric Carbonara and Joseph Suchy.
MAN FOREVER is an exploratory percussion project helmed by John Colpitts (aka Kid Millions), one of New York’s most versatile and critically-lauded musical collaborators, and a founding member of Oneida. Since its inception in 2010, MAN FOREVER has hosted an impressive list of guest performers, but few have been as specially qualified to perform Colpitts’ technically challenging meditative workouts. Colpitts continues to be one of the most in-demand drummers in New York. Throughout 2013 he toured as a member of Spiritualized, performed in duos with Greg Fox and Jim Sauter, recorded a record with Akron/Family, released an album with People of the North on Thrill Jockey, and performed with Rhys Chatham as a member of Oneida. So far in 2014 he has recorded an album with Rick Moody and has performed with William Basinski at the Ecstatic Music Festival in March.
Cincinnati, Ohio-based saxophone improviser and experimental artist JON LORENZ has been heavily involved in Cincinnati’s experimental scene for many years, running the Art Damage Lodge from 2007-2011, and presenting shows then after under the moniker Dome Presents. He may be best known for his heavily amplified sax/ clarinet duo, Wasteland Jazz Unit, but also plays in numerous other projects including Public Housing, Early Tunnels, and Ohio Unsemble. He has also played in or collaborated with the likes of Burning Star Core, Rhys Chatham, Ryan Jewell, Fred Lonberg-Holm, C. Spencer Yeh, Mike Shiflet, Darin Gray, Dylan Posa, and many others. Solo, LORENZ combines amplified sax smears with tape loops, homemade electronics, and oscillators.
After studying avant-garde jazz and improvisation with jazz legend Anthony Braxton, NAT BALDWIN started writing songs featuring double bass and vocals. In 2005 he joined Dirty Projectors. In addition to his work with Dirty Projectors, he has performed on Grizzly Bear’s Shields, Vampire Weekend’s Contra, and Department of Eagles’ In Ear Park. His new record, In The Hollows, is his followup to 2011’s People Changes. Despite his busy schedule recording and touring as the bass player for Dirty Projectors, Nat found time to write and record his most soulful and ambitious collection of songs to date. “…whether BALDWIN is singing with his throat or his bow, there’s a thrilling felling of freedom to it all.” – Pitchfork.
Listen to the title track from In the Hollows here:
Watch a live video of the title track from In the Hollows here:
Although from Chicago, Beth Remis, Ben Babbitt, and Mark Trecka of PILLARS AND TONGUES have spent much of the last few years traveling, performing music in a wide variety of contexts, exploring the severe and sublime landscapes of America, and returning to or refusing to return to variations on the theme of home . . . The work allies with the darker, stranger side of the pop realm, evoking the drama and atmosphere of Dead Can Dance, and the art-prog experimentation of Peter Gabriel’s 4. [H]armonium and violin blend with enveloping synths, undulating loops and gated rhythms of hazy origin. Pitchfork conceded in 2010 that “it’s difficult to talk about influences or genres with PILLARS AND TONGUES, and almost as hard to talk about their sound.” And The Chicago Tribunehas said that the group “defies easy categorization, unless you’re looking in that bin marked ‘essential.” While affinities may be noted with contemporaries like Julia Holter, Liars, and others working creatively with tone, texture, and ambience, in the context of voice-driven songwriting, PILLARS AND TONGUES cuts a singular path through the contemporary musical landscape.
“[TWIN LIMB are a ] dog friendly chamber folk duo. They’d be like the wedding band in a universe contained within an Edvard Munch painting.” -Alex Glasnovic
“I’ll be real: I have no idea what TWIN LIMB sounds like. I can tell you based on the above picture that they will feature ladies, probably of the singing variety, and an accordion, but I can’t tell you anything beyond that. So I’ll make it up. Hailing from an alternate reality where accordions are the universal language, TWIN LIMB are the heroes of their dimension. Originally high school do-nothings, the two were met by a lovable, time traveling so-and-so who via a series of misadventures involving the duo themselves time traveling, taught the pair to “be excellent to each other.” This wisdom was imparted on the world after the great Battle of the Bands that TWIN LIMB won, at which time hover boards and jet packs were widely distributed to the citizens of Earth that everyone may be equally radical. Twin Limb were stranded on our plane of existence shortly after they defeated the quantum bear invasion of 2028, and hope that through their gift of excellence to the planet that they can find a way home.” –Never Nervous, 11/5/13
Recommended if you like: Chelsea Wolfe, Sybille Baier, Zola Jesus, Bat For Lashes, Old Baby, The Fervor, Ali Farka Touré, Junip, Mazzy Star, My Bloody Valentine, Sigur Ros, Amiina.
The Other Side of Life 