Pluto Revolts was conceived in early 2008, a time that marked a period of significant reawakening for Cincinnati, Ohio vocalist/songwriter Benjamin James. Up to that point, James spent a decade writing music for his previous 4-piece band, an experience which also afforded him the opportunity to perform as a touring musician in clubs as far away as Japan, and as high-profile as the Warped Tour, before he even graduated high school. But unfortunately, even with an eventual major-label contract (Maverick Records), and a soon-to-follow full-length album with a platinum producer, the path that once seemed so promising was beginning to reveal its pitfalls. James realized the music he'd worked so hard to create for the group was wrought with artistic compromises in the end. Worst of all, the group's final album was destined for release-date-limbo; bound for nothing more than to collect dust on a shelf, because of the same bureaucratic worst-case-scenarios every musician prays will not happen to them. James was understandably frustrated, but not yet prepared to let the failure of that group's journey deter him from his individual dream. He decided to reboot, and funnel the energy into an entirely new project, one that would appeal to the instincts he was previously forced to ignore. This time, he would be equipped with assets most new artists lack: experience, humility, purpose, and a brand new surge of determination. Even down to the name itself signifying “rebirth,” with Pluto Revolts, James set out to shed his proverbial old skin and reveal a rawer, more distinct version of himself.

The result of that initial effort was an entirely self-produced debut EP called Suffer No Delusions, comprised of five songs showcasing a variety of influences from pop to electronic and alternative rock. The eclectic EP included songs such as “Numb” and “Control Freak,” which showcased previously untapped honesty and vulnerability from the songwriter - while the title track, “Suffer No Delusions,” showcased the scope of his vision and the wide landscape of genre-combining styles this project was free to explore. Additionally, the EP was released only weeks after completion, and initially only available as a free download from his website, which at the time, was a stark contrast from the industry-standard “waiting game” he'd just left behind. James' mission in releasing the music in such a manner was to build a stronger, more visceral relationship with his fans.

Fast forward nearly two years and Pluto Revolts' second release, an even broader and more experimental EP simply titled, Collisions, hit iTunes in April 2010. James claims the gap between the two albums can simply be attributed to exploring various other styles of music, and styles of recording. James was unsatisfied with the results of nearly every demo that accumulated between EPs - mostly acoustic songs, and songs recorded with his live band members. So by the Fall of 2009, James scrapped everything and, once again, went back the drawing board. The song titled “Closure” soon emerged, with a more unconventional pop sound, and inspired the production of his first-ever music video, which he also co-directed. Quick to follow were the finishing touches to 5 more songs that accompanied the single and rounded out the EP. By early 2011, remix artists from around the globe – from Texas and Canada, all the way to South Africa, Israel and Europe - had put their own spin on “Closure,” which led to the release of a compilation entitled Feast Your Appetite: The Closure Remixes, as yet another free download via his website/Bandcamp. The music video for "Closure" was also picked up for FUSE Networks "On Demand" music video broadcasting service.

Now armed with a consistent group of players, James has spent the past few years building the strength of Pluto Revolts' live show, to the point where the band is now consistently headlining shows at many of the areas most reputable venues and coveted stages, including The Southgate House and Madison Theater. In 2012, a new single "Lightning" was released online via exclusive partnership with Cincymusic.com, and has since been broadcast on local FM stations WEBN, ClassX, theproject, and the short lived Cincy Rock 94.5. The band has earned the reputation from CincyMusic.com as "one of the most dedicated artists in the Cincinnati music scene", and ended the 2013 concert season with an appearance at Fountain Square for Cincy Beerfest. James has since been hard at work in the studio again, preparing for a release of several singles, and potentially another album in the Summer of 2014. While James isn't sure exactly what musical avenues his songs have yet to explore, he's happy to continue pushing himself and his band-mates to the limits of their abilities, and challenging himself with their upcoming release and live performances. He's committed to constantly learning from his experiences and from the artists that inspire him, and to also bring his fans music that, if nothing else, is a true, unadulterated portrait of himself.

Once upon a time, in faraway Flyover Country, two kind and reasonably virile young men were the best of friends. Each was a master of a particular power. Benjamin, the Guardian of the Quill, composed music which brought joy to those who heard it. Nick, the Knight Errant of Percussive Tendencies, lent authority to Benjamin's lyrics. Together, they formed Young Colt and dedicated themselves to preserving Rock and Soul in the Queen City.

For a time, all was well. Young Colt played many shows in and around Cincinnati. They spread happiness and rocked houses wherever they went. They enjoyed meeting new faces. But something still seemed to be missing; all was not as it should be. And so it came to pass that Young Colt returned to their Garage Lair, to meditate thereupon.
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The days turned to weeks. The weeks became fortnights. The fortnights stretched into months.

One day, deep in the throes of despair, the two friends cried allowed to the Rock Gods. "Show us the way, we implore thee," Nick supplicated. "How shall we best serve The Sound?"

Then, as if witnessing fire raining down from a mountain, the answer came to them.

"Eureka!" shouted Benjamin. "Let us seek out our buddy JB, the Ninja of Bass, who shall bring depth to our melodies. Verily, the people will groove."

"Indeed," smiled Nick. "And should we not also enlist the services of Ricky, the Magical Multi-Instrumentalist, to give our sound texture and make the ladies of the scene swoon?"

"So shall it be done," Benjamin said.

Within a week, it was: JB and Ricky joined their merry band. Together, the quartet bravely rode forth into the wilderness, beyond the confines of the Queen City, to bring Rock and Soul to the rest of the land. Now let us join our heroes en route . . .

The Story Changes

The Story Changes is a two-piece powerpop/postpunk/rock band from Dayton, Ohio. The band has released several releases including a recent split album with Let Go along along with two full length albums "The Way of the Dinosaur" and "Last Night a Rock Band Saved My Life". The band consists of guitarist/vocalist Mark McMillon and drummer Poppy

Fun Machine

Fun Machine is a band that appropriates from many places but is ultimately too quirky to fall completely into any of the bowls they’ve dipped their fingers in. Their twin guitar lines, provided by Renee Maskin and Andrew Wetzel, carry a hint of surf-rock exuberance. John Piatkowski’s wall-o-synths provides driving arpeggios and an epic flavor. The sharp turns and polyrhythms provided by Colin Ryan on percussion and Michael Liska on the low end might be described as progressive rock if the songs didn’t careen forwards with a breakneck, punk-rock sense of abandon. Fun Machine explodes, lurches, stumbles, and sometimes even falls into a light jog through some strange sonic landscapes... ..They hail from the post-industrial, nearly post-apocalyptic world of central New Jersey, which gives the band their playful, anything-goes sense of post-modernism. Ultimately, the best way to describe their sound would be to imagine yourself a stupefied alien, nestled in your flying saucer high above the earth, flipping through channels of earth-music and digging the scene down there... ..The band has put out one full-length (Sonnenhuhn, BNS Sessions 2008), and are currently promoting their entry into the ever-popular category of the “covers EP”, containing arrangements of Beethoven themes (Beef Oven, BNS Sessions 2010), originally recorded for a local stage production of Anthony Burgess’ A Clockwork Orange. In 2010, they began work on their next full-length album, which promises to yield further developments to their mutating sound.

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The Southgate House Revival-Revival Room

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Pluto Revolts with Young Colt, The Story Changes, Fun Machine

Friday, September 6 · Doors 8:00 PM / Show 9:00 PM at The Southgate House Revival-Revival Room