My anticipation was unusually high leading up to Saturday’s concert at local newcomer venue the Country Club. I had never previously visited the venue, but word of mouth and an online photo gallery made it seem interesting. Nor had I heard Epstein or Juliana Barwick, other than a few intriguing mp3s posted prior to the show. Still, the small amount of mystery surrounding the event made it something to look forward to. I expected to be pleasantly surprised, and was, walking away a big fan of both artists’ music and the venue itself.

In addition to the musicians on the bill, Jonathan Dueck, best known for his work as a visual artist, showed two sets of short films. His experimental filmmaking and photography have led to collaborations with some notable noise, instrumental, or all around experimental musicians such as Chad Vangaalen [Sub Pop], Son Lux, and Denier.

After a few minutes of wandering the polished gallery and gazing at absurdly expensive modern furniture at the conjoined furniture shop, the thirty five or so attendees made way to the main room. Don’t let the modest numbers fool you, it was more intimate and pleasant than awkward. Dueck gave a warm, highly personal (no mics needed) introduction to the event and started the night off with a series of 10 short films, scored by various artists including those mentioned above. The films were fast paced and mesmerizing, almost entrancing; each one created by distorting or painting 22mm film and only slightly different from the last. Every once in a while they would pause to include a curious, 70s retro space-exploration theme. At other times it felt as if I was lying off the edge of a truck bed at 90mph on the highway, gazing intently at the road three feet below and watching the paint and tiny rocks zip away. Check out his work here.

After Dueck’s first showing, Roberto Lang took to the ’stage’ as Epstein. His set consisted of a single, gradually evolving song, accompanied by a uniquely and loosely insect-themed video. The music was generally abstract, blip-oriented, and very elemental. To call it ‘noise’ seems insufficient because of its aesthetic beauty. It wasn’t difficult to listen to; it was deep and entrenching. However, I can hardly see myself putting on an Epstein album at home and cooking breakfast. That’s more for his other moniker Helado Negro—a delightfully simple Latin- folk infused singer/songwriter—who gave the evening’s final performance.

Following Epstein and another showing from Dueck, Juliana Barwick timidly walked upfront and stood behind a small table that could double as a nightstand. On it, there appeared to be a small mixing board, a couple of effects pedals, and a microphone. She opened with a smooth but nearly awkward entrance into a lyrically ambiguous melody. Quickly thereafter, the song escalated into a sweeping, highly ethereal series of overlapping harmonies. She too implemented video, but unlike Epstein, hers felt more like a ‘visual aid’ than an accompaniment, taken from slowly outstretching images of light flickering on water that would make a great screensaver for your office computer. It was nice nonetheless, and helped visually entertain the audience in place of Barwick herself, who had to focus intently on her equipment and melodies. And despite an occasional Enya crack being almost inevitable, Barwick’s songs are truly innovative and viscerally moving.

I found it interesting that there were so many conventions that were politely evaded throughout the event. Country Club as a location is an impressive gallery, but also a quite suitable venue. Musically, Juliana Barwick and Epstein both blur the line between ‘noise’ and song. In retrospect, the concert was an easygoing reminder to those who think that there isn’t much to find in the way interesting, intellectual, and entertaining music events in Cincinnati other than the annual MusicNOW fest: if it’s not there, simply try looking a little harder.

- Ben Lehman