Saturday the 14th, the day captured in comedic horror parody in the early 80’s, brought the locals to the McGuffy’s stage and one extended Cincinnati local to play a unique variety show of inspirational/experimental tunes. Instead of the oft-accustomed loud thrash head-banging and mosh pits, the audience got some hot club swinging electronica, some southern rock n blues and some quirky-edged modern rock.
Opening the show was the new, new-wave dark ambient foursome Curse of Cassandra, electronic gothic rock with haunting vocals and enticing dance beats weaving songs from the synth, drums and keys about obsessive dominating relationships strung whip tight. Formed earlier this year, they’ve already gained considerable attention coming in second place garnering over 500 votes in the June’s featured band/artist of the month contest on Music Connection Dayton. C.O.C., not to be confused with Corrosion of Conformity, is a nostalgically fresh wave of dance floor domination and deviation harkening back to the downtown Goth/industrial era mecca of the 1470, Asylum, Foundry heyday. Their musical muse brings back black nailed, opaque memories of dancing in euphoric bliss till dawn then retiring to your sheeted coffin or rafter. In Greek mythology, the beautiful Cassandra was given the gift of prophecy by Apollo but after refusing his seduction, he cursed her so that no one would believe her predictions, a female Nostradamus of sorts.
They open the dance floor metaphor with the cold sweetened pain pricks of the Pins and Needles. Asher Black plays the first longing notes calling out to sweet, sweet Aurora, her soft daybreak eyes sparkle with twilight bringing the sun behind her. The classy burlesque clad tattooed Alexis Machine straddles the mic like a personal plaything, fondling its cold rail as she sings a low lunged serenade of Satiation. Electra’s Complex gives a hard boot-licking smash on keyboards so we can feel the deep, dirty throbbing moan of the bass. Alexis prances the stage playing nice on some tunes then getting right in the faces of her hordes of willing subservient followers. Their performance could be described as a husky voiced, musical striptease of sound encasing the cold fanged embrace of midnight and the warm slumber of dawn. We’re immersed in the mysterious presence of the Unknown Woman as we watch her Stardance with a heavy bass groove down the rainy streets of London after midnight. You Complete Me’s robotic heaviness accompanies its techno, Goth, industrial brethren creating landscapes of all night bliss and lyrically obsessive romances.
Everytime I Feel Alone is a slow moving slice and dice of the heart with a wet butcher knife stained with some NIN self-loathing and disdained hope. Alexis pulls out some Maria Brink making it her moment under the smoky spotlight in her lounge singing salute. Dead of Night brings out the slinking serpent tongued Arabian delight reminiscent of The Ubiquitous Mr. Lovegrove. Next we enter into a heavy breathing Binding relationship as Cassandra offers us an addicting taste of the whip and the accompanying pain, pleasure and ecstasy found within. Miss Machine compliments her eurythmic presence with the vocal aura of Grace Slick, Jem, Christa Belle and Siouxsie spreading the curse for the rest of her banshees.
Next Dayton’s Evil Eye Gypsy protects us from the Maloik bringing its seven members onstage for its fifth trip to the house of rock. EEG resembles a family more than a band with three guitars, bass, drums, five guys, two women, four microphones, tambourines, morocco shakers and a good ole fashioned thunder-stick for effect. They play a unique version of psychedelic blues, alternative, hard rock and folk music. It’s Skynyrd meets Fleetwood Mac with some Credence in the Clearwater for this funky, southern prairie jamboree revival. They play the musical gospel that makes the body move.
Bitter Comedy plays like a surreal desert trip acid nightmare driving down the long dehydrated highways of discarded dreams hoping to meet the sun face to face as beautiful haunting voices remind you of your past life. All I Had to Say breaks out the lyrical attitude alongside some journeyman blues. Mojave’s introduction leaves us deserted, dry and stranded staggering in the sand under a scorching sun in a barren Pink Floyd landscape. Two minutes until the end we delve further and further in letting the desert plains tell us its deepest secrets and memories.
They played a nice lullaby to the tune of War Pigs possibly opening the first ever ‘dance pit’ for worshipping the Sabbath. Playing three tunes off the Dirt Roads CD and a few new unreleased tracks they gave us something to look forward to hearing. Their music is available for free download on www.evileyegypsy.com.
From Cincinnati One Day Steady (we’re only the same for one day) starts Slurred and ready with an alternative, modern rock sound rocking the cradle with some punk tasting rockabilly and a 50’s greaser throwback style. The Dave Song’s a weird mixture of Dave Matthews and the Traveling Wilburys hanging out on the right side of the tracks waiting for the train to flatten pennies. They played a collection of new unreleased tunes and a heart breaking cover of Cold Hard Bitch. They Drove Through has a nice surprising Sabbath-like end breakdown and unique lyrical inspiration coming from rhythm guitarist/vocalist Ryan Peters bizarre dream of helping a stranger get revenge on their boss, then waking up and writing the song in three minutes. Break Break’s a twangy, stringy breakup dance after an impassioned phone message. Just over a year old, the band’s earliest roots begin in 2008 with a band called Drop From the Top. In 2010 what would become ODS was formed, and they’ve already played with a list of accomplished musicians in the Cincinnati and Cleveland scenes and are ready to go anyplace, anywhere.