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Big as a Buick, Glowing Like a Color TV
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Lohio is from Pittsburgh, or as frontman Greg Dutton described it to me, “a land where three rivers ...Lohio is from Pittsburgh, or as frontman Greg Dutton described it to me, “a land where three rivers become one” — which sounds fittingly more magical.
I was drawn to pluck their fantastic little Family Tree EP out of the tilting stack of promos by my stereo solely based of the title of the first song: “Leave The City, Leave Your Room” — excellent advice in the continuing quest towards adventure. It’s the spirit that permeates the whole album, one that makes me want to crane my neck upwards as I walk down the street, looking for some magic.
I love the low/high combination of shimmering bells and bleeps here on this song, combined with the sexy bass undercurrent. Their tunes are reminiscent of the chimey harmonics and thumping drumlines of Fanfarlo, the singalong freshness of Welcome Wagon or Sufjan Stevens, and at times the nuanced breathy confessionals of Doveman – this little EP snuggles right into niches of music that I enjoy and makes me happy with their own fresh creations.
They’ve been making music since 2007, but dive in by listening to / buying their newest EP now on Bandcamp. It’ll be the nicest part of your day.
Lohio is playing Pittsburgh’s Thunderbird Cafe on 11/13 with Shearwater and Damien Jurado, with a longer winter tour coming soon. Watch out for them.
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Introducing: Lohio
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We received an email from Shut Eye Records describing the roots of their label (alt-country/American...We received an email from Shut Eye Records describing the roots of their label (alt-country/Americana), and their recent foray into the indie arena with the band Lohio. And while I hadn’t heard of the label or Lohio prior to this email, after listening, it’s clear that they have good taste.
Lohio makes an ascendant brand of indie folk; this, the title track from their recently released Family Tree EP, showcases the band’s penchant for melodic, harmonious songs. The Pittsburgh-based four-piece draws easy comparisons to The Polyphonic Spree; while the majestic nature of the vocals is similar, musically, the band is far more intimate. There are no grand gestures here, no over-the-top affectations. The songwriting is strong enough without the embellishments; the EP is confident enough to sound familiar, but innovative enough to not become tedious.
Lohio’s Family Tree EP was released this past Tuesday, and you can grab a copy of it for yourself over at their Bandcamp page. In addition to the EP, the band has a handful of dates on tap over the coming long weekend, and a forthcoming date in Pittsburgh with Shearwater and Damien Jurado in mid-November. That’s good company for them to be in.
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Say Hello to Lohio
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Lohio’s Family Tree EP was recorded in the intimate setting of a studio in Appalachian Pennsylvania,...Lohio’s Family Tree EP was recorded in the intimate setting of a studio in Appalachian Pennsylvania, and, apparently, the songs on the record reflect the way in which the band lived and recorded together to become something of a family themselves. Hmm!! I thought families involved a lot more shouting than there is on this record…
Lohio have put together what feels like an effortlessly sunny set of songs that have a great deal of variety and subtlety, from the bounding and bouncing “Leave the City, Leave Your Room!” to the more downbeat “Wind and Leaves”; and then into the warm embrace of the rollicking “Adelai”. Actually, it’s an amazing feat that the band have pulled off; Family Tree has such a wide emotional and tonal range across only 5 songs, yet it still holds together as a coherent set.
The group have a background in the city of Pittsburgh and rural Ohio which they pitch together in what seems like an effortless synthesis that belies the nuance and accomplishment of the songs, while there are hints at the band’s influences, such as Sufjan Stevens, Arcade Fire, and Neil Young.
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Lohio Family Tree EP Review
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Words by Jim
Release Date: Digital – September 14, 2010, Physical – October October 3, 2010
EP r...Words by Jim
Release Date: Digital – September 14, 2010, Physical – October October 3, 2010
EP releases can be a strange breed. EP, from the Latin word Extendius Playnum (look it up. I dare you.), is commonly thought of as that middle child between a single and an album. Now I’ve seen many incarnations of EPs throughout my days here on Earth. For instance – a collection of songs that are good but don’t really fit any album release. Or maybe one of those freebie guys with different version of our favorite tunes that the band runs through in sound checks or on tour. Or what about the EP that says “Hey, we’re still around, we’ve only been on hiatus for 4 years, but we still love you guys”? They’re all good. I have no problem with any of them. Family Tree by Lohio doesn’t really fit into any of those categories…it’s cohesive and it’s all new material from a hardworking band. So what category is it, then? It’s that “I wish it was a full length album because it’s that good” category. BAM.
Lohio / Family Tree
Lohio / Funeral Song
Lohio is a band out of Pittsurgh, PA that’s enjoyed a few variations throughout its existence. We had a chance to sit down with the two creative fixtures within the band, Greg Dutton and Liz Adams, a while back over some beers and discuss some of the finer points of song writing and existence and infinity. At the time of the interview I had listened to the EP several times over, but mostly cursory in nature while doing other things (I’m a multi-tasker, so what?). I liked it. It was immediate. It was fresh and exciting and well crafted. Now, with ample time passing between my digital download and the actual official physical release of the album I can speak volumes to that “well crafted” description a sentence back.
Greg Dutton can write a damn fine song. He has a back catalog of them worth their weight in ITunes credits. On this release, more so in my opinion than others, the details are just all there and ready for the taking if you’ll have them. EP opener “Leave the City, Leave Your Room” starts off with a merry sing along and matching piano line nicely grounded with Adams’s fuzzed out bass note. Random blips and bleeps signal “golden days” and “motorways”. A four note piano trill fades into the background during the chorus. On this song, from the start, its immediate that different instruments played different roles in the genesis of these songs, i.e. piano was the mother of invention on this one and others (I could be wrong) and it’s evident to me. Delicate piano parts switch ears in the mix and wrap piano wires around my head without me even noticing. Let’s give a big fuck yeah for active listening, kids!
Likewise, “Family Tree” opens up with a big and spacious sing along verse held together with a Rhodes melody line, bass, and percussion. Other instruments fade in and out without pomp and circumstance…but that’s ok! Everything just clicks so well together…bet you didn’t notice a similar bell line playing in the right ear during the chorus lyrics “You found a job / Found a wife/ Made a Family / Looking down from the crown of your family tree”. It’s all there and it’s all there for a reason. Goddamnit! I just noticed Adam’s lazy legato bass line in the background (is that the right musical term, Liz? Hmmm)
“Wind and Leaves” is the jam of the album and lends some much needed ass kicker to the EP track list and gives the listener a little taste of what a Lohio live show has to offer. Counter to that, album closer “Funeral Song” puts Dutton’s fragile vocals on display over a weary piano line. I’ve often thought that harmonies lend strength to vocal melodies, but on this EP and this song in particular, Adams’s added harmonies make the vocals even more fragile in a really beautiful way. The Lohio gang brings it all to a close with crescendos of melodicas or accordions. The closing song really brings the curtain down, and aptly titled at that, it stinks of closure, loss, and goodbyes. Ghostly “ahhs” in the background help a whole hell of a lot as well.
The strength of this release is in the details. I’m willing to bet Lohio ached and groaned and labored over this release in a way that not many of us could understand. Subtle percussion touches that probably took days to record are in there. The sound of the piano caused many sleepless nights, I’m sure. Now that’s all fine and dandy and a lot of bands care about that stuff but it all comes down to execution and on this release specifically, they mixed it and mashed it in a way that really leaves everything all wet and shiny and new. Artistic endeavors and expression can so easily be clouded by execution and excitement. It takes some serious devotion to step back and say “Hey, this is what we want. How do we get there?” and I think Lohio more than achieved that on this release.
Now you might be saying, “Hey Jamestown, you talked about all the tracks but one. What gives, brother?” This is true and wise and I can say that the missing track, A”delai”, is my favorite on the EP (and their live rendition is something to experience), but I’m not going to talk about here. I’m a generous person, but not this one, Clausey. I’ll let you guys dissect it and find all the hidden gems. It’s full of ‘em and no doubt sitting down and listening to it and the rest of the EP will reveal something new each time.
I personally owe Lohio 34 out of 36 broke-down, musty smelling, antique graveyard pianos for this effort
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Lohio Family Tree EP
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HANK ALTOGETHER:
Generally at WLFY, we focus on reviews. But, honestly, I've kinda been waiting for...HANK ALTOGETHER:
Generally at WLFY, we focus on reviews. But, honestly, I've kinda been waiting for this one. And by this one I mean the Family Tree from Pittsburgh-based Lohio. It's my first time around with this band, but back in Louisville in the first part of last decade, I knew Lohio member Liz Adams as the bass player for The Commonwealth. Since then, Liz has moved on to my current state of PA and joined up with Lohio who are currently out on a tour in support of the aforementioned Family Tree EP.
It's a pretty no-brainer name considering the beautifully homespun quality of this recording. At times it hearkens to the bombast of Arcade Fire or the storytelling of The National or the instrumentation of States-ear Sufjan, but let's leave comparisons to the side. There's an undeniable whimsy in Lohio's recording that draws from unbelievable musicianship and an exuberance that is pretty unmatched by most groups. There's something magical going on Lohio's sound. It's always shifting and transforming, full of the promise of a kid wanting to get out of the suburbs, which is what the free download on their bandcamp page "Leave the City, Leave Your Room" is all about. You won't meet a group with such intricate instrumentation and wonderlust on this side of the Atlantic. Perhaps Stuart Murdoch and Belle & Sebastian might be able to match the orchestral flair of Lohio, but I doubt it.
You can check out and buy the Family Tree EP here.
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Checkmate: The Bishop Wins in Four Moves
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Checkmate: The Bishop Wins in Four Moves
By admin · October 4, 2010 · Post a comment
Filed Under ...Checkmate: The Bishop Wins in Four Moves
By admin · October 4, 2010 · Post a comment
Filed Under Andrew Blank, Donora, Lohio, Sleeping Bag, Snaarj
By: Andrew Blank
The Bishop, situated at 123 S. Walnut St, offered a veritable hodgepodge of sounds on Friday, October 1, sporting one the most diverse line-ups I’ve seen in quite some time. Two regional touring bands, Donora and Lohio (both hailing from Pittsburgh), and two Bloomington groups, Sleeping Bag and Snaarj, all took the stage and ensured the audience was dancing, jumping, grooving, singing along, or all of the above simultaneously.
Donora holds command of the stage first. The dance-pop trio, featuring Casey Hanner belting out her catchy lyrics over bouncy guitar riffs. Jake Hanner on drums, and Jake Churton on bass line. Donora comes out firing on all cylinders as soon as they detonate their opening hooks. The audience, small in number, clings to the outskirts of the dance floor, but it’s evident that everyone is indeed having a good time. Between songs, an anonymous audience member timidly calls from the dark, “Welcome to Bloomington!” Donora laughs, graciously accepting the greeting from the crowd and echoes their pleasure to be playing at the Bishop. The band continues its set as Casey hops in place, her lips curling into a miniature grin as she forms her words. Towards the end, however, members of Lohio inch their way towards the band, moving in slow motion and priming the rest of the audience to creep along. Clusters of dancing erupt as members of Lohio and the audience gravitate and mingle with one another.
Once their set finishes, I ask Casey about the prospect of any new recordings coming up. She giggles, mentioning “there is another one on the way. We are wrapping up an EP that was supposed to have been ready by now, but it will be available shortly.” The band is currently wrapping up its tour, playing its final venues at a frat house in Terra Haute and finishing up in their hometown of Pittsburgh.
Lohio, Donora’s touring counterpart, ambles onto the stage next and plunges into their set list without warning, saturating the still shy audience with oohs, ahs, and well crafted melodies. The lead singer, a man by the name of Greg Dutton, casually climbs on stage and supplies the crowd with a bit of banter, citing their nonstop 13 hour road trip from Wisconsin and listening to nothing but classic rock for the entire duration of the journey. The band treats the audience with tunes off their album and new EP, all as epic as their day long odyssey to Bloomington. Liz Adams, sporting a beautiful black and white bass that is just about as big as she is, plugs away at her four stringed ax, beckoning the audience to come closer and closer, the audience slowly but surely obliging. Lohio wraps up with a clap and sing along, an interactive tune Dutton invites the audience to participate in. The crowd affably responds, singing and somewhat stumbling through the clapping. The band collectively grins as they finished out their tune and descend from the stage to the now warmed up and receptive audience.
The local bands are due up and Sleeping Bag performs next. Noodling through riffs and grinding through rough but sparkling solos, Lewis Rodgers, also of local act Busman’s Holiday, hit all his targets as David Woodruff works his way up and down the neck of his bass. Dave Segedy holds vigil over his drum set, containing the rough and tumble majestic spillovers from Rodger’s ax. Each member jovially converses with the audience, steadily increasing number and decreasing their proximity to the stage. Numerous times, the band claims they would keep playing, that is, until the cops come and bust the place. After an awkward start, Woodruff, in a perfectly timed dead pan delivery, mumbles “We got busted.” and the band, laughing it off, commences again.
By the time Snaarj ascends the stage, you couldn’t keep the audience away. After a bit of a delay, saxophonists Josh Johnson (alto) and Dustin Dustin Laurenzi (tenor), bassist Bobby Wooten, and drummer Ben Lumsdaine, ripped into their experimental jazz numbers. Laurenzi and Johnson synched up right off the bat, their hands crawling up and down their saxophones in unison. Wooten pounces on his bass lines, his fingers cascading over the strings. Lumsdaine delivers controlled attacks on the drums, providing stilted rhythms complementing the Wooten’s chaotic walking. The evening’s climax occurs when Laurenzi and Johnson build upon a wailing duet. Both players simultaneously link up on a single note and stagger their projections in unison, building these abbreviated walls of sound. Wooten walks in with dizzying array of hooks, bending his strings and bending his mouth into a crescent shaped grin.
The evening finally wraps up. People start to filter out while a few concertgoers remain to mingle with the artists. Each band brought a unique sound to the stage and executed their sets with boundless energy and exuberance. The Bishop was the place to be as it provided the forum for the most diverse line-up kick off the month of October.
For a different take, check out Bari Finkel’s review of this show.
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Lohio Turns in Memorable Performance at Sold Out Show
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The best things a band can have are music, personality, and popularity. The fantastically talented, ...The best things a band can have are music, personality, and popularity. The fantastically talented, popular and personable Lohio showed off all three qualities in spades at their EP release party at Brillobox on Friday.
Their popularity was the first thing to notice. Tickets sold out quickly, and by the time the band was ready to play, the floor was brimming with fans, all pressed up far closer to the edge of the stage than usual. This is one of Pittsburgh's top acts, after all.
Next came personality. Observant fans had already seen the band's quaint, ironic humor pre-show, when the members mixed and mingled wearing shiny, customized baseball jackets. And fans may have also noticed the big cursive "L" on the bass drum next to a plus sign and an outline of the shape of Ohio. Get it? L+Ohio. Also, the shape of Ohio had a lighting bolt going through it. Superhero L+Ohio!
"Hey, what's going on, everybody?" was the first thing guitarist, singer and songwriter Greg Dutton said to the teeming, foaming crowd. It was a low-key salutation for a hyperactive audience. The humility and laid back attitude persisted throughout the show, making the crowd feel like a gathering of close friends.
Perhaps that's why Lohio opened their set, like their new EP, with "Grandfather's Chaise," a quiet number in 6/8 time that had onlookers squeeze in even closer to absorb and savor the intimacy of the music. In that song, the bass, ably played by Liz Adams, emphasizes the first beat and then leaves the rest of the phrase to be filled in by the quiet filigree of guitar. You listen while wondering what will come next.
With the crowd salivating over every note, the band cranked it up for "Old Orchard Beach," which chugs along contentedly with a red-hot guitar solo over an arts-and-crafts backdrop. Erik Cirelli (also of Emily Rodgers Band), intruded with appealing dissonance on his guitar, giving the song greater dimension and complexity. With six people on stage (the group added to their usual quintet by bringing Jeff Baker on stage to play a second keyboard and occasional trumpet), there was the strength to make any sound imaginable, but the group retained the artistic sense to remain patient and fill the songs with sounds only as needed.
The Shins-like "Waiting for the End of Summertime" introduced a new musical quality to the crowd (though it's hard to imagine that anyone who was present hadn't already heard this widely-circulated tune) — raw catchiness. The persistent backbeat and irresistible melody are only the prelude for a synth line that will hook you immediately and which you'll be whistling well into next week.
Thus proceeded the night, with further evidence of personality, music, and popularity emerging with each moment. Handclaps, new songs, special effects, guest singers, and audience sing-alongs blended these three qualities into an evening that was a feel-good mash of popular-music-loving-partytime.
By all measures, the show was a knockout, and with their EP out and launched and ready for consumption, there is now little else for the band to do except the next most important thing for any band: return to the stage again and again and share the glow of success with the world.
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Locals Lohio and Donora share the stage with Tokyo Police Club
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Bands accustomed to performing at small clubs often have their work cut out for them when taking to ...Bands accustomed to performing at small clubs often have their work cut out for them when taking to a larger stage. The sound, the space, the energy, the interaction with each other and with the crowd -- everything's different, and it's a difference that can result in a local band coming across as uncomfortable and flat.
So when locals Lohio and Donora -- groups probably more comfortable in the homey confines of Brillobox -- took the stage at Mr. Small's last night with Tokyo Police Club, I expected some jitters. Fortunately, I was wrong.
Lohio kicked things off with a bigger, more robust sound than I'd heard from them before, thanks in part to an expanded 6-member lineup and the solid rhythm section comprised of bassist Trevor Baker (of Goodnight, States) and drummer Matt Miller (of Pleasure Technicians). Vocalist and guitarist Greg Dutton was engaging and personable, as guitarist Josh Verbanets twitched like a spastic Muppet alongside.
With only three members, Donora didn't quite fill the space in the same fashion, and as I listened to the Cure-like guitar lines being triggered by drummer Jake Hanner, I wondered for a minute just how hard it would be to have an actual guitarist on stage playing them (probably not that hard). But their catchy songs connected with the audience, and both groups invited each other onstage at the end of their sets to sing backup, which leant a friendly feel-good air to the proceedings.
Closing the night, headliner Tokyo Police Club put on an excellent show -- if you haven't caught their blend of indie-pop, proggy breakdowns and Morrissey melancholy, they're definitely worth a listen. The band probably wasn't onstage that long, time-wise, but with so many short songs it did get a bit fatiguing. But, give 'em a break: It was their last night of the tour, and they still packed plenty of energy and swagger. Plus, if I were in their shoes, I'd take the screaming girls as an encouragement to keep playing, wouldn't you?
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band on the verge: Lohio
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Let’s begin with a challenge: Visit Lohio’s MySpace and review the songs the band has posted there, ...Let’s begin with a challenge: Visit Lohio’s MySpace and review the songs the band has posted there, paying particular attention to “Sea and the Sun.” See if you don’t become instantly intrigued by this six-member alt. country/indie outfit from Pittsburgh.
Sitting down with Lohio, you get the instant impression that these guys know music. Lohio is a thinking man’s (or woman’s) band. They’ve successfully combined intelligence with sensitivity and introspection. Couple that with an engaging sound and songs that stick in your head for days and you’ve got a band that is truly leaving their mark on the Pittsburgh music scene.
I had the opportunity to have a sit down with Greg and Josh from Lohio and they generously shared their perspective on Lohio’s sound, aspirations, and place in the musical tapestry of the city.
What have been your musical influences during the recording process? (Lohio is currently in the process of recording a new CD, a follow-up to last year’s Sleeping Stereo.)
The guys in Lohio come from a variety of musical tastes and backgrounds (remember, there are six guys in the band), and they range in age. Josh explained how he and Greg, in particular, have shared influences from bands such as Blur.
How does the new album compare to Sleeping Stereo?
Greg had started recording Sleeping Stereo before the band had even formed. The album was originally a singer/songwriter effort, then gradually began to involve other musicians. Thus, Lohio was born. Greg states, “The new album is going to be much different in that [the songs] are all songs that were written while we were a band…whereas in the last album, all the material was already there. It’s not as much about me as it is about the other six people.” Josh agreed and added that while Sleeping Stereo “was built on a more folk foundation” the new album will have a different, more “Baroque-pop” approach.
Any chance of a tour?
Although it’s been a challenge to coordinate the schedules of six band members, Lohio is definitely interested in expanding their travels this summer. Josh hinted at a “world tour of the South Side” as also being a possibility.
What’s the deal with the key parties?
The key parties are basically jam sessions comprised of several local bands who enjoy playing each other’s music. What started as a handful of friends from different bands hanging out together slowly became an event at local venues. As Greg says, “We have such a cool community of people who play music…all of these people really just feel like an extension of our band anyway. There’s always people who are excited to be playing on each other’s stuff right now.” April or May could see another key party.
What are your thoughts on the Pittsburgh music scene right now?
Greg: “There’s a lot of good bands. I think that if there were a light shown on Pittsburgh people would see that there’s a lot of talent here. It is slightly insular…maybe things haven’t expanded the way they could have. [The scene is] really diverse. It’s a lot of really good song-writers dealing in different aesthetics.
Josh: “I grew up witnessing the changing generations of all these local bands. It seems like there’s definitely a new guard of people…there’s a genuine excitement about it. [Speaking about the sound of local bands] At heart it’s all the same kind of idea. It’s all song-oriented. There’s an honest presentation to it.”
“Song-oriented with an honest presentation” pretty much describes what Lohio is all about and what is making them a fast favorite among music fans across the city and beyond.
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Lohio eagerly welcomes Athens
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The distance between Athens and Pittsburgh is only 195 miles, but for Greg Dutton, the two cities se...The distance between Athens and Pittsburgh is only 195 miles, but for Greg Dutton, the two cities seem like two different worlds. "The kind of music that we play is very Midwestern," Dutton said, "and as much as I love Pittsburgh, our music makes sense when we play in Ohio."
Dutton is the lead singer and songwriter for Lohio, a Pittsburgh-based sextet that draws on influences ranging from Wilco to Brit pop. However Dutton, a Flushing, Ohio native, also brings a lifetime of listening to country music to his songwriting process. "It's definitely why the country aspect still exists in the music," he said of his small town upbringing. "You don't have as many outlets for the kind of music that is going on around you, and you have to seek out bands a little harder."
Dutton started Lohio as a solo project, and began recording his debut EP, Sleeping Stereo, at 3 Elliot Studio with producer Josh Antonuccio. Over the course of recording, the two developed a close bond. "We share the same musical interests and ideas, so we became great friends," he said.
During the recording process, Dutton assembled friends from Pittsburgh to play on the record and all of them eventually joined the band. "With most bands, one guy starts a band and drags his friends into it and they try to pretend that that's not the situation," said Josh Verbanets, who plays bass and guitar. "With Lohio, it's always been obvious that everyone in the band does it to enjoy themselves, and I think people react to that." The band will release their first full-length album, History, the Destroyer, on Nov. 8.
The record is much more of a team effort, Dutton said, as he and Verbanets shared the producing and recording duties. They also received input from Antonuccio, who mixed the tracks. While Lohio has created a buzz in the Pittsburgh music scene and shared the stage with Tokyo Police Club and David Bazan of Pedro the Lion, the band still looks forward to making the trip to Southeastern Ohio. "It's the polar opposite of what we get in Pittsburgh," Verbanets said. "We had kids dancing at a folk rock show."
Dutton, however, said that playing in Athens is a way to reconnect with his roots. "I grew up in a small town, so it's a little bit nostalgic to come here," he said. "The whole area kind of inspires you."
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Lohio releases luminous new album
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"Don't you know, you're my sea / and the sun," sings Greg Dutton, before the song rolls into a sing-..."Don't you know, you're my sea / and the sun," sings Greg Dutton, before the song rolls into a sing-and-clap-along vamp reminiscent of David Bowie's "Memory of a Free Festival." It's the opening cut from local supergroup Lohio's new EP, Sleeping Stereo, a collection of luminous songs that combine the psychedelic pop of Bowie's Space Oddity with Neil Young melancholy and the more contemporary country pop of Cowboy Mouth.
What's surprising about Sleeping Stereo is its unity of purpose and confidence -- it sound like a band made it, instead of a collection of local-scene musicians backing a songwriter. (Apart from Dutton, the rest of the members play in acts such as Boca Chica, The Pleasure Technicians, Blindsider, Emily Rodgers, and Chad Sipes Stereo.) Also unlike many singer-songwriter projects, this one actually sounds terrific: all acoustic picking, high harmonies, whispery mellotron and a loose rhythm section.
Yet Dutton's songwriting and clear, unaffected vocals are still the primary concerns here. This is especially evident on "Victim Is a Saint," where ghostly vocal harmonies and a noir-country shuffle support lines like "'Cause you know I still love you, even if you don't want to / The victim's always seen as a saint." And if that song doesn't give you the shivers ... there are a couple more on here that'll surely do the trick.
