Revenge Piñata

Slanted, progressive rockers Revenge Piñata will drop its latest 10-song “adventure rock” release, Neon Eyes, this Saturday via grasshopperjuice.com (the web home of the band’s label). Full of engaging, unique textures and melodies, plus some crafty, unpredictable song structuring, Neon Eyes was produced locally at the Shepherd’s Pie recording facility by SP’s Chris Schmidt and RP’s Nick Mitchell.

You can also grab a copy of the new release on Saturday as the band celebrates the LP with a free show at Northside Tavern with special guests SHADOWRAPTR, Black Pharaoh and Sometimes. (revengepinata.com) - Mike Breen (CityBeat)

Slanted, progressive rockers Revenge Piñata will drop its latest 10-song “adventure rock” release, Neon Eyes, this Saturday via grasshopperjuice.com (the web home of the band’s label). Full of engaging, unique textures and melodies, plus some crafty, unpredictable song structuring, Neon Eyes was produced locally at the Shepherd’s Pie recording facility by SP’s Chris Schmidt and RP’s Nick Mitchell.

You can also grab a copy of the new release on Saturday as the band celebrates the LP with a free show at Northside Tavern with special guests SHADOWRAPTR, Black Pharaoh and Sometimes. (revengepinata.com) - Mike Breen (CityBeat)

Revenge combines your traditional drums, guitar, vocals and electronic synth-keyboard to produce their original sound. What electronic synth-keyboard isn’t in your vision of a traditional set up? I feel sorry for you because without it music just doesn’t sound the same. There were some technical difficulties for Revenge last night however they overcame that hurdle and put on a wonderful closing performance. In addition the electronic sounds Nick pulled out a Recorder Keyboard for a couple songs and rocked the show. Some of the 8-bit tones took me back to a day when I would wake up early in the morning to hit the power button on my NES and play any game from that generation. Due to the tech difficulties I feel I missed out on a part of the show and will definitely have to check out Revenge next time they play. - Black Hole Media

Let's say this entry is for people with a special taste. "Electro/ Pop" sounds way too normal as a genre description for what these guys are putting on this record. Starting with very catchy electronical instrumental songs like "Proximity Love Song", over slow love songs like "Bubblegum", to sung songs that are almost exlusively electronically produced like "Ritas with Nancy", they seem to try every idea they could come up with. Mix that with some sexually explicit lyrics and you got Revenge Piñata. If that wasn't enough to fall into a category for "special taste", they could still add raw, partly disharmonious vocals to the list of "what most people can't stand, but we still do".
Why do I still like them? Because they don't care. They make well produced music with some catchy tunes like they see fit and they are all the more original for it. This won't bring them quickly lots of fans, but at least my steady appreciation. And I don't think I am completely alone with that. - Wasfuersohr

Let's say this entry is for people with a special taste. "Electro/ Pop" sounds way too normal as a genre description for what these guys are putting on this record. Starting with very catchy electronical instrumental songs like "Proximity Love Song", over slow love songs like "Bubblegum", to sung songs that are almost exlusively electronically produced like "Ritas with Nancy", they seem to try every idea they could come up with. Mix that with some sexually explicit lyrics and you got Revenge Piñata. If that wasn't enough to fall into a category for "special taste", they could still add raw, partly disharmonious vocals to the list of "what most people can't stand, but we still do".
Why do I still like them? Because they don't care. They make well produced music with some catchy tunes like they see fit and they are all the more original for it. This won't bring them quickly lots of fans, but at least my steady appreciation. And I don't think I am completely alone with that. - Wasfuersohr

It’s a lazy, scorching Sunday in Northside. At Sidewinder Café, out back, the pet bunny takes a dirt bath in the shade, trying to cool down. Musicians, strangeness, sweat and cut-off jeans shorts are all around.

Back inside, Nick Mitchell, singer and synth player for eccentric newcomers Revenge Piñata, leans against a brick wall and prepares to tell me about his latest band project and its debut release, Hungry Ghost, which came out last month. He’s smiling, late. He usually is. Next to me, Yosef Berger (guitar, vocals) sits on one of the shop’s mismatched chairs.

I take in the clutter — The Original Illustrated Sherlock Holmes, checkers, ancient dictionaries, a labyrinth game, a dirty blackboard, a Royal typewriter, Trivial Pursuit, a blue vinyl couch. Like Revenge Piñata’s tunes, this place is busy, playful, quirky, artsy, charming and utterly unique.

Mitchell wears a T-shirt that reads, “Grizzly men,” and it fits — he looks kind of grizzly. Last night was rough, he explains, rolling his tired eyes and laughing.

With his trademark green-and-white flip flops, blue eyes and moppy hair, Mitchell discusses how much he loves to record. Well-known for work with bands Chick Pimp (Coke Dealer at a Bar), Wonky Tonk and The Terrors, Mitchell is also a DJ on the side.

Music grabbed him early on. Mitchell says.

“First thing I remember was recording Nirvana covers on the tape player in my room,” he says. “I was probably like 10.”

Mitchell was dedicated to his passion and worked (and works) with focus to improve his skills. He pasted inspirational notes to his door, sold his video games and decided to “stay in and be a nerd, get better … I sort of put a lot of pressure on myself,” he says.

For the past two years, Mitchell’s been creating complex electronic mixes on his laptop, calling them “dancy recordings.” To perform what would become the basis for Revenge Piñata, he started recruiting his “dream team” — friends who really dug the songs and were first-rate on their instruments.

Mitchell’s an undeniably talented musician/composer, but on this project he also sings.


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He’s humble about his abilities, taking inspiration from “unconventional” vocalists like Neil Young or Wayne Coyne of The Flaming Lips.

“I look up to the guys that also don’t have very good voices that sing pretty well, because they can actually get away with being a singer,” he says.

Mitchell’s bandmate Berger looks young, but his voice and manner make him seem much older. He’s the man in charge of the performances, sort of the musical director for RP’s live shows. Addicted to music since childhood, Berger — who previously played bass in the band Just Like Monsters — says he’s a fan of My Morning Jacket and MGMT. He describes Hungry Ghost as “Super Mario meets a church revival.”

Mitchell knew bassist Donovan Schlunt when The Terrors and Schlunt’s former band noctaluca had joint gigs (lead guitarist Shane Wingert was The Terrors’ bass player). Formerly of The Flux Capacitors and currently also a member of Sassy Molasses and Vaudeville Freud, drummer Michael Hamilton and Mitchell knew each other from jamming at open mics.

The five came together this past March. Among a spider web of influences, “videogamish,” layered, electronic sounds and a passing resemblance to Cake and Beck, Mitchell says he also took a cue from the outlandish Indie/Funk/Pop band of Montreal.

“It’s so weird … you can’t be serious and angry when you listen to of Montreal,” Mitchell explains, “That’s why I love that band.”

And you can’t be too serious when you see Mitchell bust out a kazoo. With experienced musicians from different bands working together, it seems an easy and intricate collaboration, bringing about what Mitchell calls a “Pink Floyd meets James Brown kinda feel.”

Mitchell’s lyrics can be Soul Coughing-ly blunt, but some are loaded with literary references. With his “state it like it is” voice, songs cover topics from “playing football with my best friend” to The Color Purple. He’s big on the concrete, making use of straightforward lines mixed with lighthearted sounds, bringing about a heavy irony in the delivery. But there is nothing clouded, no hiding — the lines are real. You believe it like it is.

Revenge Piñata’s members might have incredibly varied backgrounds, but they’re all gifted and versatile and, on stage, they seem to gel effortlessly. The songs are intricate, multi-dimensional, non-traditional and roaming, but they’re still incredibly tight. At live shows, there is less keyboard layering, but there’s an extra kick from having the rhythm section instead of solely programmed beats. “The drums are way better in our live show,” Mitchell insists.

Mitchell says his - C.A. MacConnell

It’s a lazy, scorching Sunday in Northside. At Sidewinder Café, out back, the pet bunny takes a dirt bath in the shade, trying to cool down. Musicians, strangeness, sweat and cut-off jeans shorts are all around.

Back inside, Nick Mitchell, singer and synth player for eccentric newcomers Revenge Piñata, leans against a brick wall and prepares to tell me about his latest band project and its debut release, Hungry Ghost, which came out last month. He’s smiling, late. He usually is. Next to me, Yosef Berger (guitar, vocals) sits on one of the shop’s mismatched chairs.

I take in the clutter — The Original Illustrated Sherlock Holmes, checkers, ancient dictionaries, a labyrinth game, a dirty blackboard, a Royal typewriter, Trivial Pursuit, a blue vinyl couch. Like Revenge Piñata’s tunes, this place is busy, playful, quirky, artsy, charming and utterly unique.

Mitchell wears a T-shirt that reads, “Grizzly men,” and it fits — he looks kind of grizzly. Last night was rough, he explains, rolling his tired eyes and laughing.

With his trademark green-and-white flip flops, blue eyes and moppy hair, Mitchell discusses how much he loves to record. Well-known for work with bands Chick Pimp (Coke Dealer at a Bar), Wonky Tonk and The Terrors, Mitchell is also a DJ on the side.

Music grabbed him early on. Mitchell says.

“First thing I remember was recording Nirvana covers on the tape player in my room,” he says. “I was probably like 10.”

Mitchell was dedicated to his passion and worked (and works) with focus to improve his skills. He pasted inspirational notes to his door, sold his video games and decided to “stay in and be a nerd, get better … I sort of put a lot of pressure on myself,” he says.

For the past two years, Mitchell’s been creating complex electronic mixes on his laptop, calling them “dancy recordings.” To perform what would become the basis for Revenge Piñata, he started recruiting his “dream team” — friends who really dug the songs and were first-rate on their instruments.

Mitchell’s an undeniably talented musician/composer, but on this project he also sings.


SHARE PRINT COMMENT FONT SIZE RATE
Related content
Rock History at L...Hit the Ground .....Media Bridges' Fr...Clifford NevernewMedia Bridges Hos...Grooveshire (Prof...
Related to:Cincinnati musicRevenge Pinata
He’s humble about his abilities, taking inspiration from “unconventional” vocalists like Neil Young or Wayne Coyne of The Flaming Lips.

“I look up to the guys that also don’t have very good voices that sing pretty well, because they can actually get away with being a singer,” he says.

Mitchell’s bandmate Berger looks young, but his voice and manner make him seem much older. He’s the man in charge of the performances, sort of the musical director for RP’s live shows. Addicted to music since childhood, Berger — who previously played bass in the band Just Like Monsters — says he’s a fan of My Morning Jacket and MGMT. He describes Hungry Ghost as “Super Mario meets a church revival.”

Mitchell knew bassist Donovan Schlunt when The Terrors and Schlunt’s former band noctaluca had joint gigs (lead guitarist Shane Wingert was The Terrors’ bass player). Formerly of The Flux Capacitors and currently also a member of Sassy Molasses and Vaudeville Freud, drummer Michael Hamilton and Mitchell knew each other from jamming at open mics.

The five came together this past March. Among a spider web of influences, “videogamish,” layered, electronic sounds and a passing resemblance to Cake and Beck, Mitchell says he also took a cue from the outlandish Indie/Funk/Pop band of Montreal.

“It’s so weird … you can’t be serious and angry when you listen to of Montreal,” Mitchell explains, “That’s why I love that band.”

And you can’t be too serious when you see Mitchell bust out a kazoo. With experienced musicians from different bands working together, it seems an easy and intricate collaboration, bringing about what Mitchell calls a “Pink Floyd meets James Brown kinda feel.”

Mitchell’s lyrics can be Soul Coughing-ly blunt, but some are loaded with literary references. With his “state it like it is” voice, songs cover topics from “playing football with my best friend” to The Color Purple. He’s big on the concrete, making use of straightforward lines mixed with lighthearted sounds, bringing about a heavy irony in the delivery. But there is nothing clouded, no hiding — the lines are real. You believe it like it is.

Revenge Piñata’s members might have incredibly varied backgrounds, but they’re all gifted and versatile and, on stage, they seem to gel effortlessly. The songs are intricate, multi-dimensional, non-traditional and roaming, but they’re still incredibly tight. At live shows, there is less keyboard layering, but there’s an extra kick from having the rhythm section instead of solely programmed beats. “The drums are way better in our live show,” Mitchell insists.

Mitchell says his - C.A. MacConnell