Zeng is an award-winning performer and a music educator but he’s never ventured into song writing, until now. He’s currently working on an upcoming album titled Through These Doors about the discrimination he’s faced and he wants to influence others.

"During difficult times in my life, I have always turned to music. This time, for the first time, I was inspired to write and perform my own music. After personally experiencing discrimination, I hope that my music will help others who face similar situations,” said Zeng in a press release.

Combining his story with his professional knowledge in opera and musical theater to create an album that’s both emotionally driven and musically appealing.

His singles “Through These Doors” and “Now” are currently available on iTunes and other major music distribution sites, but audiences have to wait until October to get the full album.

Zeng is hosting a free launch party on Friday, Oct. 19 from 8-10 p.m. at the Below Zero Lounge in Over-The-Rhine. The party is open to the public and those attending will see Zeng perform his singles as well as unveil other album songs.

On Sept. 19, Scruby released Boy Genius, which is his second Hip Hop mixtape in less than a year. In two weeks, Boy Genius is less than a thousand downloads from surpassing Best Foot Forward, which Scruby released last November.  

Over the 10 months since officially entering the music scene, Scruby has taken off. While making Boy Genius, Scruby studied at Ohio State University and played a few shows. His biggest shows included opening for J. Cole at May’s BuckeyeThon Benefit Concert at OSU. Recently, he opened for Machine Gun Kelley and performed at Ohio University’s 10Fest.

Along with live performances, Scruby and his team at LandSea Media produced enough videos to keep fans entertained while they worked on Boy Genius.  

The wait for the new music was worthwhile. I was instantly blown away at the quality of the music. It didn’t sound as if it was produced in a dorm room, but rather a professional studio. The audio was balanced and the vocals weren’t hidden under a blanket of bass.

As for the lyrics, Scruby uses a mix of wordplay and comedy in his songs, and it works. His tracks follow a life of love (or rather, lovemaking), success and partying. Although I find these themes to be a stereotype of rap, Scruby pulls off the stereotypical rap lifestyle with ease. 

Mixtape opener “Double Time” features Cincinnati’s own DJ ETrayn. He welcomes fans to the musical journey before the song begins. The start of this track is reminiscent of Dumbfoundead’s “Green.” This song makes me want to lean my driver’s seat back and drive with one hand on the steering wheel while doing 50 in a 25.

What seems to be a fan favorite is “Fux With Me.” Crowds at 10Fest wore shirts donned with "I Fux With Cal Scruby." The song isn’t my personal favorite, but I enjoy the tour of people who "fux" with Scruby and how he doesn’t let it slow him down.

My personal favorite is the bonus track “Midwest City,” which is a tribute to his hometown, that city where they sin two times. This closes the album and leaves me wanting to hear more from Scruby.

Even though high school is long gone, I can’t go somewhere without hearing about the guy who was super cereal about ManBearPig and now, he’s super cereal about his music.

Check out Scruby on Facebook and go here to download Boy Genius.

The air seems sweeter here in the front of the website, the sun a little brighter and the deadlines a little more immediate, but as Uncle Ben once reminded Peter Parker, with great power comes great responsibility. So here we are in relatively short order with a batch of new reviews and a few more older titles in my continuing quest to revisit the deserving releases from the not-so-waning months of 2011. We’re getting there, slowly but surely. Read them while they’re hot; there’s more where they came from.

Read More

Since her 1994 indie debut, The Honesty Room, Dar Williams has attracted a diverse and pathologically loyal fan base with her quirkily hybridized Folk/Pop ministrations. Like an elegant gene splice of Shawn Colvin and Loudon Wainwright III, Williams can easily triangulate the emotional distance between breezy humor, somber reflection and crystalline heartbreak, on subjects as intimate as family and love and as broad as culture and politics, by finding the commonalities between them and translating them through her muse. Equally relevant is the fact that Williams hasn’t shied away from experimenting with her base formula over the past two decades; her desire to extend her reach is a testament to her restless creative spirit and her success in doing just that is a testament to her steadfast audience.

In the Time of Gods is Williams’ ninth studio album and, like the majority of her catalog, it is a work that somehow manages to be both spectacular and subtle. In keeping with her need to experiment, Williams conceived In the Time of Gods as a concept album with each song representing a particular Greek mythological archetype, while also weaving contemporary emotional, social and cultural concerns into the narrative. It’s an unlikely formula, and one that requires an almost impossible songwriting balance, but Williams was clearly up to the task, because In the Time of Gods stands with the best of her albums to date.

Part of its brilliance is that Williams uses the Greek pantheon as a launch point to create her own dieties and address her unique issues, proving that mythology must be both consistent to be permanent and malleable to be relevent. The element that drives all of this home is Williams’ impeccable songwriting skill as she finds the connective tissue between gods and goddesses like Hera (“I Am the One Who Will Remember Everything”), Hermes (“You Will Ride with Me Tonight”), Dionysus (“I Will Free Myself”) and Poseidon (“The Light and the Sea”) and places their gifted and flawed archetypes in real life situations with real life outcomes.

As always, Williams’ musical accompaniment in this endeavor is engaging and beautiful and exactly right, providing the consistency that runs through her  estimable canon. With a surgeon’s skill, Dar Williams has grafted the wisdom, wonder and humanity of Greece’s ancient pantheon onto In the Time of Gods’ modern cautionary tales, further evidence of the contention that Williams is among the finest Folk/Pop songwriters of the last half century.

(Dar Williams performs in Cincinnati on June 23 at Mt. Lookout club The Redmoor.)

If you happened to have checked out this past Saturday's Beats Summer Concert Series event (the popular Hip Hop/Dance/DJ night presented by Self Diploma every Saturday this summer) on Fountain Square, you probably got a taste of the skills of Cincinnati native Santino Corleon, who performed right before headliner DJ Clockwork.

This week, you have another chance to sample Corleon's goods as the head-turning MC has released his latest track and accompanying music video, "Tats."

Corleon has already become a "name to watch" around the region. Upon returning to Cincinnati after a stint studying (both at college and in the Hip Hop community) in Brooklyn, Corleon stepped up his game and has been invited to perform with artists like Big Sean, Method Man and Redman, J. Cole and Gucci Mane (among other big-timers) and performing at various music festivals around the region. He's also built his buzz up by releasing several widely distributed mixtapes, including his most recent, The Hangover, hosted by DJ E-V (who works with Machine Gun Kelly and Mike Posner) and featured on Hip Hop/mixtape sites like TheOneMic.com, Live Mixtapes and LeakJones.

You can listen and download The Hangover and its predecessor — the more freestyle-oriented Where's the Love? — right here for free through Corleon's site.

Corleon is also giving away free downloads of "Tats," which will be a part of his next full release, Keep the Change. Check the video (directed by Dan Gotti) below, then click here if you'd like your very own download. The track has a cool sparse/ambient quality, with some great, tricky beats and a bass-rumble that could wake the dead. (Note: The track is also pretty non-PC and probably NSFW for most of you reading this at your job, due to language. But if your boss is cool with it, so are we.)

 I’m still getting used to my new digs here at The Daily Beat as everyone rushes about, delivering their stories with right-this-minute immediacy and what not. Of course, with my continuing effort to bring you up to date on the reviews from last summer and fall that were missed for a variety of reasons, my breaking news has all the timeliness of “Bin Laden is dead!” and “I’m so happy for Kim Kardashian and Kris Humphries — it’s nice to see a celebrity couple in it for the long haul.”

Luckily, the early weeks of this new year, with a couple of well-stocked exceptions, are pretty light on titles, allowing me the time and space to revisit some deserving highlights from bygone months while checking out the latest and greatest from the new calendar. Wait, there’s something coming across the teletype in the Bunker — apparently, the war is over! The Falkland Islands are free at last!

Celebrate with new reviews, then some old reviews. Then a drink and possibly a nap.

Read More

Well before social media made it easier to connect directly to fans, veteran Cincinnati music legends Over the Rhine were already whispering in their fans’ ears via regular notes on the band website, written intimately and poetically by OTR’s Linford Detweiler (mostly). The direct, worded contact fit well with Detweiler and wife Karin Bergquist’s mystical, emotionally resonant music, which has earned the group a dedicated fan base that spans the globe.

Along with a series of excellent albums and mesmerizing live shows across the country and beyond, the couple’s fan-friendliness and fairly consistent engagement no doubt helped not only build that fan base, but also maintain it.
The tight bond between OTR (which has put out albums on its well distributed Great Speckled Dog label since 2007) and its fans was tested in 2010 when Detweiler and Bergquist came to them with a proposition.

Before sites like Kickstarter or PledgeMusic became the hugely popular resources for artists to “crowd-fund” projects that they are today, Over the Rhine (as well as a few others) was a step ahead of the trend, allowing fans to pre-order the album and kick in additional funds for bonus perks. The experiment worked incredibly well and the band ended up with a nice budget to record (with Grammy-winning producer Joe Henry, no less) the exquisite full-length, The Long Surrender, one of the group’s best (and best reviewed) albums to date, which ended up on many “Best of 2011” lists late last year.

The Long Surrender campaign was so successful — at least partially due to the members’ way of making fans feel like they are a part of the resultant records — OTR has returned to its fans for assistance, this time so they can record and release two new albums by the end of 2013.

In a letter on OTR’s website, Detweiler explains the two albums, the material for which has been crafted over the past few years. One of the albums is tentatively titled The Farm and will feature songs written about the couple’s past several years living in an old farmhouse in Highland County, Ohio. The duo even plans on hosting a live performance of the songs on their inspirational property to celebrate the release.

The other project is a new holiday album, Blood Oranges in the Snow. The album will be OTR’s third holiday release, following 1996’s The Darkest Night of the Year and 2006’s Snow Angels. Not your typical Christmas-classics toss-off LP, OTR’s holiday releases, as Detweiler writes, “(hopefully) capture some of the reality of a beautiful — but often conflicted and even heartbreaking — time of year.”

For more on how to donate, click here. There you’ll also find the different tiers and perks, which include everything from digital bonus tracks, a “thank you” in the album artwork and signed posters to a private house concert, admission to any OTR concert through 2014 and … a tree, to be planted on the twosome’s farm and dedicated to the contributor.

Potential donors will have a chance to be swayed by Over the Rhine’s sublime sounds this Saturday, as the group returns to the Taft Theatre to perform many of their holiday tunes (and other songs). This year's event is being billed as “An Acoustic Christmas Concert.” The concert begins at 8 p.m. with opener Lucy Wainwright Roche. Tickets are $37.50 (via ticketmaster.com) or $42.50 at the door.

For those hardcore fans who just can’t get enough, OTR presents its annual “Holiday Sunday Soiree,” a casual, intimate gathering at St. Elizabeth’s (1757 Mills Ave, Norwood). Tickets are not issued for Sunday’s 3 p.m. get-together; sign up and pay for admission to the event ($20) here and your name will be added to the guest list.

Margot and the Nuclear So and So’s frontman Richard Edwards may be the most tenacious man in rock. In 2009, the band’s Indianapolis home base was heavily damaged by fire, they were dropped by Epic after the controversy over Animal/Not Animal and the majority of the band quit.

That would have been the end of Margot for most guys, but Edwards resurrected his outfit with bassist Tyler Watkins and multi-instrumentalist Erik Kang and, with an impressive guest list, assembled and self-released 2010’s spectacular Buzzard, a clattering bit of Indie Rock brilliance that diverged from Margot’s early Chamber Pop explorations.

Last year, Edwards and a completely reconstituted MATNSAS generated their recording budget through the Pledge Music website and began tracking their fourth album, the noisily majestic Rot Gut, Domestic.

Much like Buzzard, Rot Gut seems more shambolic and scattered than it really is; like a pointilist painting, it pays to stand back in order to appreciate the work. On Rot Gut, Edwards and MATNSAS have crafted an amazing amalgam of Wilco’s artful squall (“Disease and Tobacco Free,” “Fisher of Men”) and Ryan Adams’ buzzy indie evocation of ’70s Rock (“Books About Trains,” “Arvydas Sabonis,” “Ludlow Junk Hustle”) while simultaneously managing to reference the atmospheric Pop that marked their first two albums. After 10 tracks of that, MATNSAS finish up with an amazing one-two punch; the dissonant and fuzzed out “The Devil” is followed, logically enough, by the exquisite balladry of “Christ,” a Randy Newman-meets-Paul Westerberg piano-and-ethereal-frippery hymn (“Jesus breaks your heart every night when He doesn’t come”).

The scariest thing about Rot Gut, Domestic is that Richard Edwards and Margot and the Nuclear So and So’s might have an even better album than this minor masterpiece in them.