MOCA presents (Ballroom)
Hear for the Homeless
A Special Concert Benefiting Northeast Ohio Coalition for the Homeless (NEOCH), Wesley Bright & the Honeytones, Carlos Jones, HIRAM-MAXIM, Morgan Mecaskey, Jul Big Green, Dolfish, Times10
15711 Waterloo Road
Cleveland, OH, 44110
Doors 6:00 PM / Show 7:00 PM
This event is all ages
Watch & Listen
Hear for the Homeless
Proceeds to benefit Northeast Ohio Coalition for the Homeless (NEOCH)
Wesley Bright & the Honeytones
Wesley Bright & The Honeytones are a soul band from the funky rust belt town of Akron, OH. Although he’s only been on the scene for several years, Wesley has grown to be a regional favorite amongst true soul-lovers and vinyl collectors. As a vocalist, he is quoted to be a honey-voiced frontman who’s got the pipes and the moves to keep the crowd going all night! Backed by the Honeytones, Wesley is stepping out on his own to create a new soul sound that bridges the gap between classic soul and the modern sound. Being compared to greats like Al Green and Otis Redding, there is something really show stopping about him. His way of getting the whole crowd to sing and dance together has earned him the reputation of a true dynamo on stage!
Carlos has been entertaining audiences for over 35 years throughout the eastern half of the United States, first as a member of the roots reggae group “I-Tal”, and then with the legendary “First Light”, before finally pursuing a solo career with his current group – the Peace, Love, Unity Syndicate (aka “The P.L.U.S. Band”). Choosing to focus on bringing a positive message with his music, Carlos has continued to win a diverse group of new fans everywhere he plays.
With headline performances at Cleveland ROCKSNYEVE, Jamaica's 'JamRock 2010', Idaho's 'Marley in the Mountain Fest', Wade Oval, Painesville Party in the Park, Warren Amphitheatre, Springfield Amphitheatre, and the Midwest Reggae Festival to name but a few, Carlos Jones and the P.L.U.S. Band will be rockin' the house with their unique brand of high energy "put yer dancin' shoes on" reggae.
It's getting dark out there. People are seething. And when it all comes crashing down, this is the sound you'll hear. Ghosts, the second release from Cleveland's Hiram-Maxim, is a whorl of punishing noise and pounding beats, dark textures, bleak visions and howls of pain.
Fred Gunn's vocals are spoken and screamed, accusations and absolutions that take in personal suffering and state-sponsored acts of oppression. Lisa Miralia's processed vocals and DIY electronics conjure up synthetic squalls and clouds of distortion, warped and abrasive textures that obscure the dark, bloozy groove laid down by guitarist Dave Taha and drummer John Panza. And guest guitarist Oliver Ackermann, of A Place to Bury Strangers, adds sonic broken glass to the opener, "Behind the Blindfold" and the title track, "Ghosts".
Hiram-Maxim recorded Ghosts with Martin Bisi at his legendary BC Studio in Brooklyn, with some portions captured at John Delzoppo's Cleveland studio, Negative Space. Clocking in at 42 minutes, the record's seven tracks are as sprawling and expansive as those on the band's self-titled debut. That 2014 LP drew praise from outlets like Vice and Decibel. But Ghosts is a step forward, its songs more focused and more vicious.
Gunn did time in punk bands. Miralia is an established figure on the noise scene (her rig, featured in Gear Gods, is the envy of pedal geeks everywhere). Taha, whose previous band, Filmstrip, dealt in far-sunnier hooks, counts Elizabeth Cotten and Thurston Moore among his influences. Panza, meanwhile, plays with reckless abandon in several bands despite having only one lung. He lost the other to a bout with malignant pleural mesothelioma. He was lucky to survive.
The band takes its name from the Anglo-American inventor Hiram Stevens Maxim. He's best known for the Maxim gun, an ur-machine gun that helped turn Europe into an open-air slaughterhouse in World War I. It was an appropriate choice.
"[Hiram-Maxim's] 'Visceral' builds into an apocalyptic fervor before dissipating into a cloudy haze and ending before you've had your fill. Thankfully there's a whole album of these brutal-but-beautiful goodies." - Vice
"[Aqualamb's] first release of 2015 is a murky psychedelic venture into a darkness that immediately seems familiar to the Ummagumma days of Pink Floyd... The album's congruence of spacious ambience and hissing electronics makes for the kind of pulsing abrasion that's immediately and infectiously rewarding." - Steel for Brains
"More like an experiment in the deconstruction of sound than an album in the traditional sense... In another universe, one might call it punk rock. Here, it is gleefully and thoroughly fucked up." - The Obelisk
"Pink Floyd-esque progressive rock nuances and Oxbow-style weirdness... Noisy, psychedelic and just plain odd." - American Aftermath
"Spread over four tracks, the music on Hiram-Maxim (Aqualamb) sounds mostly improvised, giving it a genuine feeling of unease as the four band members craft sounds that could be the soundtrack to undergoing a particularly intense k-hole whilst locked in a Salvador Dali museum overnight. The loose, free-form approach often gives way to violent bursts of noise such as on the brutally harsh 'Can't Stop' which sounds as if Throbbing Gristle had been force-fed mescaline." - Ghost Cult Magazine
Morgan Mecaskey is an American musician, singer-songwriter, and multi-instrumentalist living in Cleveland, Ohio. The former front of acclaimed local indie/folk band Tinamou, Mecaskey made her solo debut in 2012 with the EP, "Righteous Kind". "Righteous Kind" is a heart and head experience for the listener: earnest lyrics delve into metaphysical questions while vivid soundscapes, whimsical motifs, and fat beats build the bold and beguiling album.
Mecaskey has been likened to artist Jeff Buckley in the way she composes and coveys her music. An apt comparison, Mecaskey's forceful, assured presence, deliberate arrangements, and confident handling of the guitar create an unorthodox, ethereal, visceral musical experience.
"Lover Less Wild", Mecaskey's most recent recording, commences with the shimmering, passionate anthem "White Horse", wherein Mecaskey croons, "Sometimes, I don't feel like who I really am" over and over. It’s a solid anthem that sets the tone for the EP. Woozy horns drive the mellow, R&B-inspired “Fighting Extinction, ” and the title track is a jazzy number that allows Mecaskey to show off her terrific voice. The Joni Mitchell-like ballad “Crushed” has a genuine tenderness to it, making it the perfect album closer.
Both "Lover Less Wild" and "Righteous Kind" were recorded and engineered by Dave Douglas at Danger House (Cleveland, OH). "Lover Less Wild" was mastered by Adam Boose at Cauliflower Audio and "Righteous Kind" by Doc Harrill at Liquid Synergy Studios.
Jul Big Green
Jul is a diverse musician from Cleveland, Ohio with styles that range from Pop-Rock, Hip-Hop, and Jazzy acoustic. Growing up in a musical family led him to develop a passion for the art at a young age. This passion would later drive him to receiving a degree from Akron University in music and also to start his solo and group projects under the name Jul Big Green. Through his music he conveys a positive message to his listeners while also giving them an enjoyable musical aspect. While he reaches to younger generations, his diverse arrangement of songs pulls in an even more diverse group of people.
“I have such a wide musical interest and I can’t pick just one style, so I figured why not make music for everybody…I want my music to be positive. I want my music to convey a positive, not to be confused with happy, message. Whether it’s Rock, Hip-Hop, Love or Pop Song.”
Jul can be seen performing either as a solo artist or with his full band at many locations around Cleveland and has also done several tours touching Florida, Michigan, and New York. This unique artist truly accomplishes his goal of having at least “one song for everyone”, so if you’re someone who can never decide what to listen to check out this artist.
Moniker used by Cleveland songwriter and musician Max Sollisch.
Blending cacophonous and dense synth and drum textures into an entirely cohesive stylistic idea moving from the fast and disorienting to the subtle and ambient.