10 YEARS OF RVA MAGAZINE 2005-2015

Transcription

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RVA MAGAZINE 20 | SPRING 2015
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photo: KLH Photo
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RVA #20 SPRING 2015
2005-2015:10 YEARS OF RVA
WWW.RVAMAG.COM
R. Anthony Harris, Jeremy Parker FOUNDERS
R. Anthony Harris PUBLISHER
John Reinhold PRESIDENT
Andrew Necci EDITOR-IN-CHIEF
Brad Kutner EDITORIAL ASST.
Brad Kutner RVAMAG.COM & GAYRVA.COM
Tony 2 Times CREATIVE DIRECTOR
Drew Snyder DESIGNER
John Reinhold, Josh Lingerfelt, Ronny Lopez ADVERTISING
Taylor Womack ADVERTISING ASST.
Todd Raviotta STAFF PHOTGRAPHER
WRITERS
Andrew Necci, Brad Kutner, Shannon Cleary, Doug Nunnally,
Kyle Shearin, Emilie Von Unwerth, Black Liquid,
John Reinhold, Cody Endres, Tyler Spindle, Ben FM
PHOTOGRAPHY
Ian M. Graham, David Kenedy, Chris Lacroix,
Kim Frost, PJ Sykes, Christian Hewett
INTERNS
Rodrigo Arriaza, Bridget Douglas, Tyler Hammel,
Calyssa Kremer, Ben Weiner, Victoria Zawitkowski
e: [email protected] GENERAL INFORMATION
e: [email protected] EDITORIAL INFORMATION
e: [email protected] DISTRIBUTION
ADVERTISING
p: 804.214.6350
e: [email protected]
e: [email protected]
SUBMISSION POLICY RVA Magazine welcomes submissions but
cannot be held responsible for unsolicited material. Send all submissions
to [email protected].
All submissions become property of Inkwell Design LLC. The entire
content is a copyright of Inkwell Design LLC and cannot be reproduced
in whole or in part without written authorization of the publisher.
ONLINE Every issue of RVA Magazine can be viewed
in its entirety anytime at rvamag.com/magazine.
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DISTRIBUTION
Thank you to our distribution partner
BioRide / bioriderva.com
DISTRIBUTED BY OUR FRIENDS
AT BIORIDE TO OVER
100+ LOCATIONS IN ADDITION
TO THE FOLLOWING
LISTED ESTABLISHMENTS!
SUPPORT YOUR LOCAL BUSINESS!
CARYTOWN
Plan 9 Records, Agee’s Bicycles, New
York Deli, Portrait House, Don’t Look
Back, Chop Suey Books, Heroes &
Ghosts, Weezie’s Kitchen, Ellwoood
Thompsons, Need Supply Co., World
of Mirth, Bits N Pixels, Tobacco Club &
Gifts, Venue Skateboards
BROAD STREET ARTS DISTRICT
Gallery 5, 1708 Gallery, Ghostprint
Gallery, Turnstyle, Velocity Comics,
Steady Sounds, Lift Coffee
DOWNTOWN & CHURCH HILL
Pasture, Barcode, Tobacco Company,
Bottom’s up, Kulture, Alamo BBQ,
Legends, Plant Zero Cafe, Manchester
Market, Frame Nation
VCU AREA
ALB tech, Strange Matter, Lamplighter
VCU, Kulture, 821 Cafe, Fan Guitar &
Ukulele, Ipanema, The Village, Mojo’s,
Rumors
MUSEUM DISTRICT
VMFA, Bandito’s Burrito Lounge,
Black Hand Coffee, The Franklin Inn,
Cleveland Market, Patterson Express
THE FAN
Bellytimber, Commerical Taphouse,
FW Sullivan’s, Lady Nawlins, Foo Dog,
Cask Cafe, Harvest Market, Star-lite
Lounge, Fan Noodle Bar, Deep Grooves,
Capitol Mac, Katra Gala, Sticky Rice,
Joe’s Inn, Strawberry Street Market,
Little Mexico, The Camel, Lamplighter,
Balliceaux, Helen’s, Metro Grill,
Y & H Mercantile
WEST END
NIssan Of Richmon, Su Casa,,
Mekong, Taboo,
Guitar Center,
SCOTT’S ADDITION
The Broadberry, En Su Boca,
Buz & Ned’s BBQ,, Smoke and Mirrors
Salon, Hardywood
HEADS UP!
The advertising and articles appearing within this publication reflect
the opinion and attitudes of their respective authors and not necessarily
those of the publisher or editors. Reproduction in whole or part without
prior written permission from the publisher is strictly prohibited. RVA
Magazine is published quarterly. Images are subject to being altered from
their original format. All material within this magazine is protected. RVA
Magazine is a registered trademark of Inkwell Design LLC.
RVA Magazine is printed locally by Conquest Graphics.
cover art by Mickeal Broth
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DON’T
SLEEP
In this edition, we start to look back at RVA History.
Top: GWAR in 2006 by Ian Graham
Left: Model KC Ellis 2005 by Kim Frost
Opposite Page Top: Konkrete Jungle 2005
by David Kenedy
Opposite Page Bottom: Best Friend’s Day 2005
by Ian Graham
If you would like your photo work featured in the
Dont’ Sleep section, send us an email at
[email protected]
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Music has been an important part of
what RVA Magazine covers, throughout the entire decade of our history.
We’ve been fortunate during that
time to live in a city that has one of
the most thriving music scenes in
the country. We’ve watched the best
among us enjoy tremendous success
and struggle through hard times to
come out triumphant, continuing
their evolution as artists. In this anniversary look back at the 10 years
we’ve been publishing, we wanted to
celebrate some musicians who were
dominating the scene when we
started and continue to do so now.
LOOK
BACK
LAMB OF GOD
In 2005, Lamb Of God had just hit the Billboard
charts for the first time with the release of their third
album, Ashes Of The Wake. Since then, they’ve only
gone farther towards their goal of being the biggest
metal band in the land. After 2012’s Resolution, which
landed in the Billboard top 5 the week it debuted, the
group’s patience was sorely tested in a European legal
affair, later documented in the film As The Palaces
Burn. These days, with singer Randy Blythe home
safe and sound, Lamb Of God is still going strong,
currently at work on their eighth album.
(Photo taken in VA Beach by the late, great,
Ian M. Graham)
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STRIKE ANYWHERE
Between their earlier days in bands like Inquisition and
Count Me Out and the amazing work they brought to
the world on classic early releases like Change Is A
Sound and Exit English, Strike Anywhere defined what it
meant to play melodic music but retain a strong political
consciousness. Singer Thomas Barnett’s rough, throaty
voice belied his ability to sing catchy tunes that would
get stuck in your head all day--and have you singing
along with lines like “American justice, American lies--a
war of words that I despise,” which still seem relevant
over a decade later. Sadly, we haven’t heard much new
material from Strike Anywhere over the past few years-but when they do make it back to Richmond, they
always get a hero’s welcome.
(Photo taken at the Nanci Raygun, now known as
Strange Matter, by Chris LaCroix)
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AVAIL
It’s sad to imagine that teenagers growing up in
Richmond today might only know Avail as the name
of an e-cigarette brand. In the 90s and well into
the 2000s, Avail was the first name in Richmond
punk rock. They released their last album, Front
Porch Stories, several years before RVA magazine
launched, but as of 2005 they were still playing
the occasional local shows--and greeting rapturous
packed houses every time they did. Of course, this
pic of singer Tim Barry with an acoustic guitar
points to where things were going--these days,
Barry has a successful solo career in which he plays
folk/Americana tunes with punk roots but a softer,
acoustic sound. The rest of Avail made one criminally
overlooked album with singer Freeman Martin under
the name Freeman in 2010, and Avail itself has never
officially broken up, so there’s always the possibility
they’ll return to action once again... but it doesn’t
seem all that likely, so for now we have to content
ourselves with the memories.
(Photo taken at Nanci Raygun by Ian M. Graham)
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MUNICIPAL WASTE
In 2005, the most beer-bong-tastic party thrash
band Richmond has ever seen was warning us
all not to go in the water for fear of the “Terror
Shark.” Back in those days, their shows had a
sort of “the horror at party beach” feel--people
stagediving with pool noodles and doing backflips
off spring-loaded boogie boards, the whole nine
yards. These days, the Waste are spacefarers, as
they proved on their last album, The Fatal Feast,
and members of the band also have plenty of other
active projects--Tony’s new, slightly less silly thrash
band, Iron Reagan; Phil’s long-running marijuanathemed death metal crew, Cannabis Corpse; Ryan’s
collaborations with other metal heavyweights
in Volture and BAT; and of course, Dave’s many
sojourns into the world of craft beer. Look for new
material from the Waste soon, and look for them to
hit a local stage even sooner than that.
(Photo taken at Nanci Raygun by Michelle Dosson)
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RVA ON TAP
LEGEND BREWING
CELEBRATES THE
COMING OF SPRING
WITH NEW ÜTEBIER
Recently we visited our friends at Legend and
sat down to try some of their great beers. I
have never shied away from professing my
love for their Pilsner, but I have a new favorite
in their new Ütebier. Ütebier translates
literally to “first beer you have in spring;”
it’s very German in character, with nice
honey malts and a backing of Amarillo hops
to bring out the tropical notes of this very
drinkable beer. As always, their Lager and
Brown were popular with our group--we’re
all looking forward to warmer weather, when
we can take these to the river or sit on the
porch and enjoy. You should also be keeping
an eye out for the latest in Legend’s Urban
Legend series, Strong Arm Ale--a reference
to Stonewall Jackson’s arm being amputated
after the Battle Of Chancellorsville. Jackson
eventually died of complications from the
wounds he suffered during that battle, but
legend has it that his amputated arm had
to be buried separately from the rest of his
body. Strong Arm Ale commemorates this
legend with a sweet and full-bodied brew
that is deceptively smooth. We have a few
special firkins planned with Legend this year,
so keep an eye on the social media as we put
together some fun collaborations!
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THE LATEST IN RICHMOND BREW NEWS
CHECK RVAMAG.COM/RVAONTAP FOR
YOUR DAILY PINT
DRINK LIKE THE GODS
OF VALHALLA AT
BLACK HEATH MEADERY
Black Heath Meadery is now open in Scott’s
Addition, adding something unique to the
growing roster of craft breweries around
Richmond. They will be bringing the world’s
oldest fermented beverage, mead, to the
river city using local RVA ingredients.
Mead, a fermented honey wine beverage,
is referenced in classics of fantastic
literature dating back as far as Beowulf,
and often associated with Vikings and Old
Norse mythology. We’ve met Black Heath
Meadery’s owner, Bill Cavender, a few times
over the years, and always enjoy sampling
his delicious meads. Black Heath’s flagship
mead is The Muse, which uses ingredients
from local honey producers Bearer Farms and
Golden Angels Apiary. You can drop by Black
Heath Meadery, located at 1313 Altamont
Ave, for bottle sales and samples. They also
conduct tours of their setup on weekends-RVSP via phone or Facebook to schedule
We are excited about the food Cultured yours. If you’re not familiar with mead, take
Swine has been delivering of late. Their this opportunity to get a lesson about this
high-concept international BBQ and street- enjoyable old world beverage.
food fusions should be a delight to the
local food culture. You might know them
from their current food cart location at
Brown’s Island off Tredegar St, as well as
every Thursday evening at Triple Crossings
Brewery. However, you definitely won’t
want to miss their newly opened storefront
location at 307 North 2nd St. There you’ll
find their expanded menu, local Sausage
Craft sausages, and a selection of local craft
brews coming soon. BBQ and craft brew is
something we know this town will get into,
so go check them out at their new spot as
soon as you can.
CULTURED SWINE
BRINGS BBQ FUSION
FOOD CART STYLE TO
NEW STOREFRONT
LOCATION
TALKING BREWS WITH
BRANDON TOLBERT OF
THE ANSWER BREWPUB
Interview by John Reinhold
We recently caught up with Brandon Tolbert,
head brewer at The Answer Brewpub. Before
they joined forces to create The Answer,
Brandon and Mekong owner An Bui were
longtime friends. Bui knew this was a perfect
matchup, and now, together at The Answer
Brewpub, they’ll be working to bring their
favorite unique brews to RVA. They already
have an extensive section of amazing beers
to choose from on the 36 taps at the front
bar. Brandon and An bring an extensive
knowledge and love for beer and brewing that
is contagious to anyone who talks to them.
We sat down with Brandon at The Answer
and enjoyed a few good beers (Sculpin From
Ballast Point & Uberlin from Strangeways)
while we discussed brewing and the growth
of craft beer in Richmond.
brews and sharing them and so on. The home
brew association was talking with Extra Billy’s
about a competition to feature the winner’s
beer on tap at Extra Billy’s. So during those
talks, Billy’s said they were trying to find a
new head brewer, and I was mentioned on
that list. They did some interviews, tasted
my beers, and I eventually got the job. When
I came in, I had to learn the equipment, and
started to revamp the place. I got things
running, started to plan out the beers. Within
six months I won the Gold Medal for best
IPA in Virginia, and got a Silver for pale ale.
I would have been happy to get a Bronze on
any of the beers, so it was not expected, but
I was happy about it, of course.
What would you say is your style of brewing?
How did you go from a person that likes I’m not sure you have a particular direction
beer to a person that makes beer as a home or style. Some might say I am IPA focused,
but there are reasons for that. What we are
brewer?
going to do here is make beers that come to
Probably around 2000-2001, I had friends you fresh. When you think about how long
that had friends that were making beer. I a beer takes to get to you from a brewery,
thought it was a cool thing to pursue--I can [from] the West Coast, for example--like
make alcohol at home? That’s pretty tight, this Sculpin we are drinking. How old is this
right? But I was living in The Fan, so I didn’t beer? At least three weeks, right? What The
have room for all that. In 2003 I bought my Answer is going to do is make brews that are
house, with a detached garage so I actually of this caliber but come to you at one day
had space to do it. That Christmas my wife old. The IPA’s we serve here are going to be
Stacy bought me a home brew kit, because I directly out of the serving tanks. It does not
would talk about it all the time. That started get any fresher than that. Me and An want
the home brewing. I started to find out things to make beers we want to drink. So I guess
about beers that I found pretty interesting that’s my style.
and that piqued my interest even more. I was
already pretty detail oriented, and I think you What do you think of the growth of craft
have to be detail oriented to make good beer. brewing in RVA? Where would you like to see
You have to think about things before you do it?
them.
You know, before Prohibition, if you got beer,
Tell me about the jump from home brewer to you got it from someone who made it in
town. Every town had their own little spot.
larger scale brewing.
I hope we are seeing a resurgence of that.
I was pretty lucky. I was into home brewing I mean, how many breweries do we have in
and doing the meetings with the home town these days? Eleven or twelve, maybe,
brewing association--making my home but thinking about Richmond’s population
and the surrounding area, we are looking at
like 1.5 million people. So we’re not near any
kind of saturation rate, if you ask me. I would
like to see the culture of people change, and
thats what it really is going to take. From a
culture of people that really prefer drinking
American light lagers--and that’s all they
drink! It’s just weird to me--to be able to go
to the place that local craft beer is made, and
talk to the brewer and the people who make
what you drink. To get excited about beer,
talk to your friends about it. Not fuss over
it or anything like that, but care about it like
you would the food you eat.
As far as growth of craft brew in Richmond,
in the years to come I want to see us
mentioned as one of the top places in the
country. I think the Stone deal will help that.
Hardywood has a lot of notoriety, and I think
that’s great, because I like them, and they
are in our town. So good for them--and good
for us. That’s where I want to be--not just
for the recognition, but that I know and make
beer well enough that people [who] don’t
live here are talking about it.
When did you and An start working together?
I was a patron of Mekong, and had been going
to just get the food since the 90’s. It was
great food and beer, so a no-brainer for me.
He started getting into Belgian, and Mekong
grew, started getting more beer. Then Jacob
Brunow introduced me to An. Over the years
I would give him my home brews and hang
out. I just wanted his opinion on them; he
would try them and tell me what he thought.
So I was striving to make something that An
liked. [We’ve] been talking for years about
beers. We had similar philosophies about
craft beer, and we believed in supporting and
cultivating your local community, and giving
them a spot for craft beer.
The Answer Brewpub is located at 6008 W.
Broad St.
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PLAYLIST
TRACKS WORTH LISTENING TO.
FRANKIE, “PROBLEMS PROBLEMS”
DREAMSTATE, FRANKIEMUSIC.COM
This Oakland singer has all the talent and originality in the world
to truly make an impact in 2015, and this song showcases exactly
why. While it’s a straight pop song, there are plenty of intelligent
little things for which to keep your ear out. The subtle Pitch Perfect
bass line and the bridge that goes against the grain add a lot of
depth, but it’s the way her voice controllably falters that makes this,
perfectly conveying the heartbreak of the entire song in less than a
second while making you yearn for more. --Doug Nunnally
XERXES, “EXIT 123”
COLLISION BLONDE, NO SLEEP RECORDS
On their second album, Louisville’s Xerxes have moved beyond
the emotional hardcore of their debut to explore darker, spookier
textures with obvious roots in postpunk. They’ve lost none of their
passion, though. “Exit 123” has a quietly menacing foundation,
over which guitarist Will Allard lays down slashing, discordant
noise, and singer Calvin Philley unleashes desperate screams. As he
gives voice to his existential crisis with lines like “When I talk, it’s
like not even I can hear me,” the tension he creates is impossible to
ignore. --Andrew Necci
KYLE KINANE, “THIS TRACK IS NOT CALLED DOPEMAN”
I LIKED HIS OLD STUFF BETTER, COMEDY CENTRAL RECORDS
Kyle Kinane’s craft exists in storytelling, great timing, and
playful darkness; it has helped make him one of the most popular
comedians working today. In this particular bit, Kinane talks about
his first adult party being interrupted by a police officer looking for
a good idea, what buying a couch means in terms of venturing
into adulthood, awkward moments to make attempts at flirting,
and realizing one’s own mortality. The lesson here is to remember
that time is of the essence--and, if you are a cop planning on going
undercover, to change out of your uniform first. --Shannon Cleary
HOT CHIP, “HUARACHE LIGHTS”
WHY MAKE SENSE?, DOMINO RECORDS
Regardless of their relentless release and touring schedule, Hot
Chip’s jubilant energy remains present in their music. Their latest
single combines the brainy dance pop the band is known for with
some tastefully implemented vocoder singing, running counter
to Alexis Taylor’s breezy falsetto. Although the song makes the
demand “replace us with the things that do the job better,” it’s
hard to believe any machine could do Hot Chip better than Hot
Chip. --Cody Endres
COLLEEN GREEN, “DEEPER THAN LOVE”
I WANT TO GROW UP, HARDLY ART
Colleen Green gets a bit more vulnerable on her sophomore album,
and the crux of her openness can be found in this gem of an alt pop
song. Featuring raw, honest vocals atop a droney drum machine/bass
combo, with Green’s hooky-ass guitar only coming in occasionally,
“Deeper than Love” calls for (lots of) repeat plays. “I’m shitty and I’m
vain and I’m dumb and I’m a bore,” Green matter-of-factly sings in her
sweet, breathy voice, “and once you get to know me you won’t love me
anymore.” “Deeper than Love” will hone in on all your insecurities (and
all the garbage that comes with “falling in love” in the Tindr generation)
even as you get your head bob on. --Emilie Von Unwerth
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STUDIO NEWS
Most would probably see RVA
doom-metal titans Windhand as
harking back to the proto-metal
70s, but recent news of Windhand
heading into the studio with
producer Jack Endino makes it seem
as if the group seeks to recapture the
magic of early 90s grunge. To be fair,
it’s not as unorthodox a decision as
it might seem at first. While Endino
gained his fame producing seminal
Seattle debuts like Nirvana’s Bleach,
Mudhoney’s Superfuzz Bigmuff, and
Soundgarden’s Screaming Life, he has
produced some doom-metal albums
in recent years, including High On
Fire’s Death Is This Communion. Now,
with Endino manning the boards,
Windhand are currently putting
together their as-yet-untitled third
album at Soundhouse Recording in
Seattle. The album will feature nine
songs, and is scheduled for a fall
release on Relapse Records.
Local post-hardcore band From
Fragile Seeds recorded their
upcoming second album, Myth And
Ceremony, during a time of transition.
Though their songs tend to rely on a
twin-guitar attack, they recorded
the album as a three-piece, with
drummer Chris Gregory playing both
drums and guitar on the album. Says
frontman Andrew Inge, “[Chris] and
I put our heads together and came
up with a lot of stuff we were really
happy with to complement my parts.
My original parts were usually more
structural, so the bones were still
there anyway. We just needed to
fill it out and decorate it.” As with
previous releases, the band recorded
the album themselves--but took
greater care this time out. “This
recording is definitely better than
the last one,” says Gregory. “We
took our time with everything, just
to make sure we were happy with it.”
With original bassist Mike Perlowski
returning just before recording and
new second guitarist Josh Kelley
joining soon after the album was
completed, From Fragile Seeds are
back to full strength, and plan to
self-release Myth And Ceremony on
CD and mp3 in April.
People’s Blues Of Richmond have
been recording the followup to their
2013 album, Good Time Suicide,
with producer Mark Neill, best
known for his work on the Black
Keys album Brothers. Neill, who
also produced J. Roddy Walston &
The Business’s Essential Tremors,
has been helping to bring that Black
Keys-ish psychedelic edge to PBR’s
down and dirty blues-garage sound.
Explaining his reasons for wanting
to work with Neill, singer/guitarist
Tim Beavers cites his appreciation
for Neill’s unadorned, traditional
approach to recording. “Mark’s
sound doesn’t come from a million
digital studio tricks on his computer,
but from a diligent setup, an intimate
understanding of sound, and a belief
in himself, his gear and in the bands
he’s recording,” he says. “Working
with him, we learned how to push
ourselves harder than ever before.”
The band’s sessions with Neill have
yielded two recently-released digital
tracks thus far: “Outta My Mind” and
“Gone Gone Gone.” Is there more to
come? We can only hope.
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POSITIVE NO
By Shannon Cleary / Photo by PJ Sykes
Positive No started over three years ago,
but for a variety of reasons, the band took
a while to get going. Yet from the start,
there’s been a buzz surrounding their
efforts. It makes sense if you’re aware of the
musical background shared by co-founders
Tracy Wilson and Kenneth Close, but it also
seems a bit peculiar to judge a group on
expectations derived from past endeavors.
Their past efforts shouldn’t be ignored; yet it
can’t be denied that their current endeavors
are equally, if not more, exciting.
The band got started due to a thought Close
had while at a show. At this point in his
personal history, he’d been out of the music
scene for a while. “I watched a friend of mine
play a show and I started to wonder why I
wasn’t doing this,” he recalls. “It seemed
like a missed opportunity. And the idea of
playing in a band in my thirties didn’t seem
like an absurd idea.” This newfound desire to
make music culminated over a winter break
in 2011. Aided by modern technology, Close
began to write some songs. “One factor that
made working on music a little easier was
having a digital work station, as opposed to
getting a four track out,” he explains. “You
could immediately sense layers of songs
beginning to form and take shape.”
Wilson was quickly drawn into the process,
contributing to songs in ways that went far
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beyond just vocal melodies and harmonies.
While she only sings during the band’s
live performances, she contributes to the
songwriting process by augmenting Close’s
guitar parts with ideas of her own. “The
way that I approach playing guitar is a way
of developing a melodic accompaniment for
what I might do with what I sing,” Wilson
says. These early collaborations began to
take shape as some of the songs that later
appeared on Positive No’s first EP.
However, soon after the band’s initial
formation, tragedy struck. Wilson was
involved in an auto accident that left her
with a head injury requiring a lengthy
recovery process. “After the accident, I
started to relearn how to sing. There was
a heightened sensitivity to sound that I
had to acknowledge,” Wilson recalls. This
reeducation definitely informed the ways
Positive No refined their sound. Compared
to her previous vocal work in bands like
Dahlia Seed and Ringfinger, her approach
in Positive No feels like a new page entirely.
The dynamic interplay engages listeners
as the swirls of Close’s guitar mingle with
Wilson’s hushed vocals.
While Wilson taught herself how to sing
after the events that had befallen her, Close
took a similar approach to his guitar playing
in the band. “It’s crazy to think how much
time I spent playing music throughout the
nineties, to then return to it and practically
have to reteach myself how to play guitar,”
he jokes.
After several months of recovery, the two
began considering how to approach recording
and performing live. “When we were working
on demoing, we would send them out to a
friend on the West Coast, who began putting
drums to a lot of these songs. It was a good
way for us to start getting a better idea
for what direction we were going to take,”
Close says. After these initial exercises, they
started to consider potential candidates
to fill out their live lineup, approaching
drummer Willis Thompson, formerly of
Thao With The Get Down Stay Down and
Murphy’s Kids, among others. “At the time,
he wasn’t playing music with anyone. That
probably comes as a surprise to many, but
for us, we found him at a very fortunate
time,” Close says. Wilson was quick to seek
out an old friend to play bass for them-James Menefee, known for his work in Fun
Size, River City High, Long Arms, and more.
“I have known James for quite a while, and
there is a certain comfort in having him play
on whatever you are working on,” Wilson
remarks. “He’s so incredibly talented, and he
will just sound awesome.” With a full lineup
assembled and an engineer in mind, the
process began to create their debut EP,
Via Florum. Recording took place at The
Magpie Cage in Baltimore, with producer/
engineer J. Robbins (who has also produced
albums by Jets To Brazil, The Dismemberment
Plan, and more) manning the boards.
At the same time Close was attempting to
learn the cause of his injuries, Thompson
announced to his bandmates that he’d
be leaving the band. “Willis had started
becoming a bit more active with a few other
projects and realized he didn’t have the same
Soon after, the band began playing shows, amount of time to dedicate to the project,”
with one of their first being the first annual Wilson says. Luckily, Thompson was able to
Fall Line Fest in 2013. “We knew from the stick around long enough to record drums for
start that we wanted to try and do a bit of the band’s debut full-length, entitled Glossa.
touring behind this project,” Close says.
“At the same time, we understood how life “We named the record Glossa due to it being
can kinda just happen,” Wilson adds. “It’s the greek root word for language, and more
probably why we have worked through a so tongue,” Wilson says. “We used that
few members due to getting married, having idea to really consider what we wanted this
children or both, and realizing being in a record to represent from all of us.” To record
band is probably the craziest thing that the album, the band headed back into the
anyone can do given those circumstances.” studio with Robbins, and with the lineup that
The lineup issues began almost immediately, had recorded Via Florum as well. “Not only
with mulitple quick transitions occurring at did we have Willis there, but we were able
the bass position before they were joined by to schedule James [Menefee] to play bass
Josh Quarles (also of The Low Branches). for Glossa as well,” Wilson says. “If you ever
However, the band soon staged an epic Via needed a greater testament to how awesome
Florum release show at which they performed James is, he learned all of his parts in no
on a stage fashioned to look like a blanket time and even tracked them with similar
fort, inspired by Close and Wilson’s first date finesse.” “By the time we left Baltimore, I
as a couple. “It felt appropriate to recreate was really impressed by how much we had
that for a big moment that the two of us were accomplished,” Close adds. “The only thing
sharing by playing music together,” Wilson I might have done differently is not lose my
says. “It was also just a crazy idea, thinking, voice by the time we got around to tracking
‘Could we really set up a blanket fort on a vocals,” Wilson remarks, adding: “We were
stage and make it work?’” Close adds. “The able to work on that more once we returned
challenge was quickly accepted, and we just to Richmond.”
figured out how to pull it off.”
The 12 tracks that appear on Glossa all fit
Over the next several months, as the band in with an overarching lyrical theme, which
began playing regular local dates, making Wilson is quick to point out. “I broke down
several short trips out of town, and planning each song and started to realize that from
future recording sessions, their lineup the comfort and safety of my present tense,
continued to fluctuate. In particular, there I was revisiting traumatic times from my
were problems with the bass position. “We past,” Wilson says. “A lot of these songs act
went through a number of bass players for a as my final words in those moments that I
variety of reasons,” Wilson says. “Sometimes never had the opportunity to express or
life just happened, and they weren’t available share until now.” Some of the ideas behind
or able to commit as much as we needed the songs involve the ravages of nature, the
them to. In other instances, we just didn’t historical and geological importance of an
find the songwriting chemistry that we area in southwestern Iceland, ruminations
desired, and we were able to mutually come over failed relationships, and the unfortunate
nature in which men continue to speak
to that conclusion to move forward.”
down to women even in current times. “The
As if this wasn’t a complicated enough song ‘You Shoot, I Ladder’ is a direct call
situation, there was also another injury to the frustration I face when I constantly
situation starting to affect the band’s ability encounter people who speak down to me due
to operate. “I don’t know what it is with this to my gender,” Wilson remarks. The male
band, but I think we just can’t keep ourselves half of the songwriting team may not have
from suffering some sort of unfortunate a direct experience with this phenomenon,
injury,” Wilson jokes. This time it was Close but nonetheless echoes Wilson’s frustration.
who was suffering, dealing with lower-body “It drives me crazy that this is still an issue
injuries that made it hard for him to perform, in today’s day and age,” Close says. “It just
or even to stand up for long periods of time. baffles me to no end.”
“I started feeling pains in one of my legs that
after months of coping would eventually be The lyrical and musical approach Positive No
diagnosed as a misalignment of my pelvis takes towards their music sets them apart
and spine,” Close explains. “Thankfully, from many of their contemporaries. At the
those issues are beginning to subside, same time, the band is quick to compliment
but it definitely put the band on hold for a the variety of the music scene they’re part
of. “What I love about what’s happening with
moment.”
music in Richmond is that you never really
see a bill that is all one way or the other,”
Close says. “There is never a traditional
shoegaze bill or a full-on garage rock or
even punk bill. Every band in town is doing
something that feels like it’s their own--and
that really speaks volumes.” He also notes
that the current social and political climate
inspires not only Positive No but artists in
general. “If you look around at the art that
is created during the bleakest of times, it
seems like that’s where the greatest things
come about,” Close adds. “As fucked up as
things get, I think everyone is really setting
the bar high for themselves and everyone
seems to be delivering with new releases.”
Speaking of releases, Positive No have no
concrete plans for Glossa’s release at the
moment. Wilson’s own label, Little Black
Cloud Records, released Via Florum, while
Raleigh, NC-based label Negative Fun
Records released a two-song EP for the
band in 2014 as part of their Singles Club.
However, this time around, the band would
like to see what other opportunities might
be out there for them. “I’ve never really
shopped a record before, so I think we’re
going to give that a shot and see what
happens,” Wilson says. One thing that does
appear to be coming together nicely is a new
live lineup for the band--though the duo
were not prepared to release the names of
their new rhythm section as yet. “We aren’t
really ready to make any big announcements,
but if everything works out, I think people
who have enjoyed our live shows in the past
will be stoked to see who we have lined up,”
Close says.
While Positive No may not have been as
active as some bands over the course of
their existence thus far, the attention they’ve
received has all been well-deserved. They’ve
released compelling music from the outset,
and displayed the sort of refined intellectual
nuance in their songwriting that comes with a
greater store of life experience. At the center
of it all is the connection between Wilson
and Close--something Wilson says she’s
never experienced in any of her previous
projects. “To be honest, I haven’t really
played with, all that many people. I have had
people around me support the projects I’ve
been involved with in the past but it never
translated to them wanting to work on new
things together,” she explains. “It just never
happened until now with Positive No, and
getting to work with Kenny on this. With as
many members that have come and gone,
the core of the group will always be the two
of us, and how we interact with each other as
songwriters.” There really isn’t anything else
like Positive No happening in Richmond right
now, and their example only further proves
that the eclectic nature of RVA’s music scene
is one of its greatest strengths.
www.positiveno.com
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39
GRITTY CITY RECORDS
by Interview by Ben FM / Introduction by Andrew Necci / Photos by Christian Hewett
While Richmond has a reputation as a
metal/punk city, those who keep their ears
to the ground will know that a lot of hip hop
is being made here in RVA--especially over
the past few years. Slapdash, the New Juice
Crew, Broad St Elite, and quite a few other
groups have been making waves in the local
hip hop scene, but one group with deeper
roots than most is Gritty City Records.
Through their connections to Divine
Profitz and other RVA hip hop veterans,
this collective of MCs and producers has
done a lot of great work to establish their
name over the past few years. They’ve
also endured more than their fair share of
personal tragedy--Divine Profitz founder
Chadrach, who worked extensively with the
members of Gritty City, died in 2012, and
Gritty City rappers Seap One and Joe Threat
both passed away in 2013.
entire year, and followed that up with two
new albums in 2014--See Us On The Dance
Floor, a collaboration between Johnny
Ciggs, Fan Ran, and Skweeky Watahfawls;
and World Peace Motherfuckers, the first
solo release from former Luggage MC Ben
FM. The following interview with Johnny
Ciggs, Fan Ran, and Skweeky Watahfawls
was actually conducted by Ben FM before
he joined up with Gritty City Records, and
the conversation that follows had a lot to
do with his eventual decision to become a
Gritty City artist.
Ciggs It’s kinda fueled by that old Richmond
party scene.
Party music?
Ciggs In a way, it’s just grimy as shit. This
city used to be real outta hand. It was that
era that raised me, so a lot of what I talk
about comes from those experiences.
Gritty City seems like a cohesive unit, but
also an affiliation of individual entities. How
do you view that structure?
Ciggs It’s a group, but it’s a group of solo
artists. We’ve done a ton of stuff together,
Skweeky The shit that your daughter listens and everybody’s kinda workin’ on their own
to that your mom don’t want her to listen to. things at the same time. Gritty City is just
The facts of life.
an umbrella for everybody who’s involved.
I support everything they do, and I put it
Fan Ran It’s gritty but at the same time it’s out to the best of my ability. I would say I’m
However, the group--which also includes clean as fuck. How does it do that? You the head of the thing. I started Gritty City.
Johnny Ciggs, Fan Ran, Pandemic, Delta know how Mobb Deep used to sound? It I got the business license and everything.
Automatik, Skweeky Watahfawls, and was clean but at the same time, goddamn, it Whenever it’s go-time to get some shit
Sirus The Virus--has persevered. They was gritty. The personality is in the lo-fi. It’s done, I’m always the one who has to light
bounced back from their losses with the something that as a listener, you don’t know the fire.
establishment of Rapper Monday, during what it is, but you know [it].
which they released one new track per
week on their Bandcamp page for an
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Describe the Gritty City sound.
Around here it seems like there’s a new rap
group, a new label, a new crew almost every
week. In this landscape, what makes Gritty
City different?
Fan Ran A lot of people say, “Oh I get drunk.
I go to the club. I get turnt up. I always got
$1000 on me.” All kinda shit, like “38 bad
bitches with me,” you know? Gritty City is
talkin’ about maybe doin’ a couple rails in
the bathroom, maybe crushin’ a Keystone
30 pack and shit. Like a glorified house
party. That’s the way we started out, rappin’
at parties and shit. So it appeals to me on
that level. I did the Divine [Profitz] thing
and that will always be my heart too. That’s
some political shit. That taps into a side of
me. But this shit taps a side of me too.
Explain what Rapper Monday was.
Ciggs Rapper Monday is over, thank God,
and we just got turned down by Guinness
Book of World Records for most weekly
releases by a rap group, so fuck them. Me,
Joe, Ran, and I think Delta were talkin’
about releasing a song once a week a couple
summers ago, so we released a song from
June to June, 2013-2014. A new song that had
never been heard before, every Monday for
a year. We wanted to prove that we were
harder workin’ than pretty much everybody.
It was basically our message to the world,
that we’re in here rappin’ all the goddamn
time, and the producers we work with are
makin’ beats all the goddamn time. Shout to
Profound 79 and everybody else who gave
us beats during that time.
See Us On The Dance Floor is the name of
the new project. Is this a concept album, or is To see it behind the scenes is totally
it dance music?
different than the three minutes people
took to listen to the song. People knew the
Ciggs [None] of us are ever at dance clubs. songs were comin’ out on Mondays, but to
I came up with the album title as a joke, wrangle all these fuckin’ alcoholic, weed
and when I called Skweek to tell him I met smokin’ morons, bring ‘em together, and
some people that would like to hear us do make a song every week? Are you kiddin’
a record together, I told him that’s what it me? You know how stressful that was?
should be called. It just kinda stuck. When Please.
me and Skweeks are rappin’ together, we’re
just tryin’ to make each other fuckin’ laugh. Ciggs, you’re the engineer, so in your
That’s the energy of the album. We’ll rap position, at the end of the day, you’re the
about a bunch of dumb shit, and how we last one with your hands on it. How does that
drink all the time, and talk shit.
affect your relationship to the song?
And then the features on it... we got you
on it, Ben. We got Devious Kanevil on it,
Swerve36--just a bunch of OG Virginia
heads. These are all artists that I looked up
to when I was coming up. Now I make music
with them. I dig it. We got a little more of
a rock sound with the samples. Ran’s got a
lot of heavier samples. But the shit’s funky,
man, and it’s real tough. You could dance to
it if you wanted to.
Skweeky Yeah, you get enough beers in you,
you’re gonna dance your ass off to it.
Ciggs If they don’t like it, fuck it. By the time
it’s done I’m too fuckin’ drunk to keep mixin’
anyways. There was a night I pulled an allnighter and mixed 45 tracks for the triple
mixtape release back in 2012, and I didn’t
hear a single fuckin’ complaint. So after
that night, I always said to myself, “If they
don’t like how it sounds, fuck ‘em.” That’s
what cracks me up about some of these kids
talkin’ about how they’re grindin’ so hard. I
fuckin’ work 60 hours a week, get home at
four or five in the morning, and that’s when I
start workin’ on the rap shit. I’m still gettin’
it done, more than most.
In this era, when rappers wanna have a who’s
who showcase of all the hot producers, what Is the experience any different when you are
are some of the advantages of working with mixing your own material?
only one producer for an entire project?
Ciggs Not really. I basically have the process
Fan Ran You get a whole developed album. of mixing everything down to a formula.
Especially with somebody like me that can With the amount of music we put out, I
go different places with my production. It don’t have time to sit down and obsess over
gives an album direction when you have a mix. Plus I got a good ear so things just fall
one producer. It’s gonna have an overall into place, for the most part. I’m actually
feel. You get that core sound. See Us On The working on mixing some new tracks for my
Dance Floor is a sound. I feel like that is the upcoming solo album, Elegance, currently.
move for me right now. I like doin’ whole They’re sounding good.
albums for people. I get my shit off, and they
appreciate it enough to trust me to produce What’s Elegance all about?
a whole album. I’m honored by that.
Ciggs It’s a statement about my life. I’m
proud of the fact that 15 year old me would
be proud of what he turned into at age 30.
I still do exactly what I wanted to do back
then, and on top of that, after years of being
broke as shit, I am now financially stable.
I bartend at a great bar and in my time off
I do whatever the fuck I want. So I guess
you could say Elegance is based on the fact
that I’m living the dream. Even though my
life is not as luxurious as what’s normally
associated with the word, I haven’t lost sight
of what makes me happy. I haven’t sold my
soul for a dollar, I’ve gotten to where I am by
staying true to myself. There was a coupleyear period in my life where I was miserable
as fuck and living a life that wasn’t me. I
never want to feel like that again. I guess
this record explains the end of that era and
what I’ve been up to since.
Talk about Chadrach.
Fan Ran: Chadwick in general was a lot of
things to a lot of people. Probably the most
humble guy you’re ever gonna meet in your
life. Somebody that you thought was your
friend before he was your colleague. Always
wanted to make sure you were doin’ good.
Probably one of the most knowledgeable
people spiritually that I’ve ever met, and not
on that fake shit. That evangelical..
“Gimme some money” shit.
Fan Ran Yeah, “gimme some money,” or “I
can drop fifteen bible verses in a row,” or “I
can tell you what you’re doing wrong with
your life, and how you need to be more
like me” type shit. Never on that. He might
give you a low key jewel. He was the king
of droppin’ low key jewels. Whether you
chose to listen or not was on you. He was
a real guiding force in people’s lives outside
of music.
He would actually play you a record he was
samplin’ before he played you the beat.
He was more excited about the [crate]
diggin’. That’s how you know Wick was a
true producer. He’d wanna show you all 50
records he got from the spot, and let you
know the science on the records, because he
knew he had the cards. He knew you came
over there to hear some shit, but you was
gonna get life jewels, maybe a music history
lesson, in the process. You felt honored just
to be in that man’s presence. He was a light.
And I’m not even a religious person, but he
made you wanna be a better person when
you left that house.
Talk about Seap.
Ciggs Seap was a brother to me. He and
I met as he was trying to sell drugs at a
release party I was throwing. I told him to
fuck off. Somehow from then on, he and I
became real close. Maybe because I had the
41
nuts to go at him like that--who
knows? By the end of that night
he and I were taking keg stands
together and crackin’ jokes. He
was a heroin addict who sold
heroin, pills, weed, whatever--he
would have sold you anything if
he thought you would buy it. But
he was one of my best friends
ever--never did me wrong. I
would’ve done anything for that
man. I tried my hardest to keep
him straight, but motherfuckers
that wild are hard to tame.
out to Momma Threat, one
of the strongest women I’ve
ever met in my life. Cool as
hell. But when the memorial
went down, just the amount
of people that showed up to
that shit was crazy. There
were people I was friends
with that I didn’t even know
knew him.
People I would expect to
see separately at different
things. Like I’ve never seen
these groups of people all
under one roof at the same
time, ever.
He overdosed, died, and got
revived the summer before his
album came out. And when he
got revived, he got popped with
a whole bunch of drugs. After he
spent some time in jail, he beat
the charges and went home to
Culpepper. I called him and was
like, “Hey man, I want you to
come down here to Richmond.
You know if you’re livin’ with me,
you ain’t gonna be doin’ no dope.
Come down here and let’s fuckin’
make an album.” He was like,
“Man, I been writin’ the whole
time I been locked up. I got tons
of shit.”
he’s got this girl blowin’ him, all shitfaced on shitty vodka. It was a
wild night. That was just how it was, chillin’ with that dude. Always
some alcohol involved, and probably a really crazy girl or two, but we
put together a great, great album, [The Sickness Of Seap]. It was just a
beautiful album. He was a legit dope boy, and if you listen to his side
of the story, it don’t sound nothin’ like any of that glorified shit. He
made that shit sound as ugly as it was. He died of an overdose, came
back, wrote the fuckin’ album in jail thinkin he was lookin’ at 26 years,
then beat that shit on some crazy technicality. Sadly though, once that
album came out, he fell back to his old ways and it got the best of him.
His release show was at Emilios in April 2013; his memorial show was
a month later at the same venue.
He comes down with some chick,
we roll over to Ran’s house, and I
buy him three beats. The second
we get back to the house he’s
like, “Oh, I got somethin’ for
this.” That track would later be
known as “Remastered.” So he’s
doin’ it, writing the hook and
recording. This is the first fuckin’
night! We got three tracks done
on Fan Ran and Delta beats, and
Skweeky Joe was the only motherfucker I know who would stay at my
house to get fuckin’ faded ‘til five in the morning, sleep on my couch,
then wake up at seven and be on the phone makin’ deals. He’d always
be like, “Yo. Let’s make moves. Real walkie-talkie. I gotta work but fuck
it, let’s do somethin’ before that.” He would shoot through. Don’t ask
me how the fuck he got there. Don’t ask me how he left. I don’t know. Listen to and download all of
Like good people status. I don’t really feel like anybody got anything Gritty City Records’ releases at
negative to say about him.
grittycityrecords.bandcamp.
com.
Ciggs Oh hell no. And when he passed, and me and NaNa put together
the memorial show for him, we really wanted to please his moms. Shout
42
Talk about Joe Threat.
Fan Ran And that right there
was a testament to how Joe
operated. Joe was a nucleus
for a lot of different people.
He connected people. Like he
always used to say, “I come
and connect the dots.”
Ciggs He had it figured out,
man. He was a real smart
dude. Anybody who knows
him knows that. And he
used to say “Oh I’m Harvard
material, but I’d rather just
hang out and smoke blunts.”
That was Joe goddamn
Threat, dude. He was one of
the best to ever touch this
city in my book.
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45
EARL MACK
By R. Anthony Harris
Introduction by Andrew Necci
Earl Mack is a designer, illustrator, and
muralist quickly making a name for himself
in RVA. That name isn’t actually his real
name (you may also know him as Zack
Morris, though he was never on Saved
By The Bell), but it’s a tough name to
forget once you see the artwork he’s been
producing. From his mural inside High Point
Gallery to his work as creative director for
up-and-coming clothing brand Chilalay, Earl
Mack has a lot going on right now, and if his
plans come to fruition, 2015 will be the year
that everyone in RVA (and beyond) gets
familiar with his work.
How did you end up in RVA?
I went to VCU. I was in the art school. So
I’ve been here ever since 2008; graduated
2012.
What made you want to stay here?
I just liked the art scene. I’m kind of still
debating whether or not I wanna go back to
school, and there’s been work opportunities
here, so I stayed. And it’s not too far from
my parents, but not too close either. So if
they need me I can be there, but I’m still far
enough away I can do my own thing.
Were you a designer or an illustrator first?
Illustrator, always. I’ve always been drawing
and sketching. I wanted to go to the comm.
arts illustrating program at VCU but I didn’t
get into it. I wound up being in a sculpture
program. I didn’t really want to be at VCU at
first because sculpture is not what I wanted
to do. I wanted to do graphic design--like
the cool side of art. But sculpture turned
out to be pretty sweet. I didn’t know it was
the #1 sculpture program in the nation. And
then my advisor was like, “Well, there’s
sculpture and extended media. If you don’t
really wanna do a lot of sculpture you can
play with the extended media side. You
pretty much have free rein to do whatever
you want.” And that’s what kept me in
school, because I didn’t enjoy sculpture all
that much until the end.
46
47
What have you been doing since graduating
in 2012?
“Oh, you got a cig I can bum?” and the next
thing you know, we’re having a conversation
and hanging out or whatever. So it kind of
Always making art, that’s a given. I’ve been brings people together, but it also tears
doing a lot more designing for clothes, people apart, because of cancer.
logos, web design for other companies... I
have my own clothing brand called Chilalay So it’s a double-edged sword?
and we were in RVA Fashion Week [in
Spring 2014]. I’m the creative director for Yeah a double-edged sword. It’s a vice.
the brand, so I’m always trying to come
up with new concepts for the clothes, and I met you at Fashion Week, but then I worked
trying to come up with new ways to market with you on the Richmond Mural Project…
our brand. We’ve done a few pop-up shops have you been doing murals long?
and pop-up galleries, and had pretty big
turnouts that gave us our buzz to start off Nah, I just got into it this year. I’ve been
with. The first thing we did, we didn’t drop doing large paintings, but I haven’t done
a line, we just did a dope event. From there too many murals. I kinda had an interest
we started building clothes around these before the [2014 Richmond Mural Project],
events and doing cool stuff throughout the and I wanted to learn about murals, so
city. That’s how our brand has been; we put I volunteered and got to hang out with
out clothes but we’re definitely trying to do Ekundayo, Onur, Wes, Chazme... I got to
a lot more stuff culturally than just clothing. help Ron English paint his wall, which was
one of the biggest things that’s happened
So the brand’s more a cultural brand than to me this year, so I was in awe of that. Just
just a t-shirt thing.
sitting and talking to these guys, learning
about their process and how they do it, and
Yeah, we’re trying to get the culture being able to ask them questions about
definitely involved with the brand, through technical stuff really catapulted me more
clothes but also through art style. With the into trying to get into murals.
culture being art shows, or hip hop shows,
or fashion events. Just trying to be well I wanna say after that, maybe two weeks
rounded in a lot of different areas.
later, Hamilton Glass hit me up and was
like, “Yo, I got this studio space, could you
For people that haven’t seen your art, how come paint a mural?” Since then I’ve done
would you explain it, or your style in general? three or four murals. This one [inside the
High Point Gallery] is the biggest one I’ve
Vibrant colors; I like strong black lines. done, and was a collaboration project with
Definitely grew up a comic kid; I love my boy Johnny Acura. So together, this is
DC Comics, so that’s always what I was our biggest wall yet. This was a volunteer
sketching and drawing. Now that I’m older, work, but it was fun and quick. My friend
I’m kind of going back to those same roots, that asked me to paint [the] space said
but I’m putting my own spin on it, doing faces that they were looking for artists to come
and objects that are really vibrant. Kind of in, paint, and throw a party, then showcase
pop art in a way, stuff that’s relevant--and artists out here. I was looking for more
if it isn’t relevant I just put a spin on it to opportunities to get my work out there and
make it kind of relevant. I haven’t done too build up that fan base. We got it done within
much political work, because fuck politics. two days and it didn’t take that much out
It’s more just shit that I’m interested in, of me.
like fashion, women, having a good time…
Robots and skateboards.
So what are you excited about now, or
coming up in the city? Do you feel like stuff’s
There are a lot of repeated objects in your about to pop off? Do you have a lot going on
art. There’s one with cigarettes bent up--I right now?
thought that was dope. And then I saw one
with grenades repeated.
I’ve got a few people who have hit me up
that have some paid murals coming up,
The cigarettes was… you know, RVA was and I’ve been doing a lot of commission
pretty much founded on tobacco. It’s a stuff. But I’m really trying to get a big wall
huge tobacco city. You’re always gonna see somewhere in Richmond--a nice healthy
someone smoking cigarettes and its always piece of real estate. I’m also trying to do
something that brings people together, like another solo or group show with some
48
other artists here in Richmond, maybe even
Atlanta or NYC. We’ve got a few things in
the works now. I’m working with my boy
Antonio Knox and getting stuff lined up
on the East Coast because I think [2015]’s
going to be pretty big for the Earl Mack
brand. I never thought I could’ve sat down
at a barbecue with David Flores and talk
about murals. It’s cool to be able to drive
down the street and see artists from all over
the world in my city. They’re coming here to
see us, see the city, see what else RVA has
to offer. It’s all good, regardless of who did
it. The work speaks for itself. Sometimes I
find artists on Instagram that I have no idea
who they are, but I start following them and
their work is crazy--it’s some of the dopest
stuff I’ve seen and it’s being viewed through
Instagram. I don’t even have a website
right now; everyone who’s following me is
following me only through Instagram. That’s
how I’ve gotten to where I’m at now.
Well I think you’re on your way. Do you feel
like you aspire to great work?
Yeah, I definitely want that. I want to do art
professionally and not have to worry about
having part time jobs to support myself.
I want the work to support me and fuel
my dreams, so I’m able to help fuel other
people’s dreams. I feel like if I can get on,
I can get my homies on, and we can just
create our own artists’ atmosphere to do
whatever we want to do. That’s what we’re
trying to do now, more than anything. I’ve
even created my own art show and got 20
artists, put them in a gallery and made the
thing a real dope event. It was accessible to
anybody that cared about the event; there’s
no window shopping. You don’t have to be
on the outside staring in, you can be on the
inside to see it just as well, if you want to.
I feel like a lot of time in RVA there’s this
sheltered community [that’s] kind of hard
to get into unless you know somebody
already in there. And that’s going to happen
regardless, but I want to create a space
where that doesn’t necessarily have to be
the case. If you’re in the arts and you wanna
do it, you can. If you think you’re good
enough, just come put it out and the world
will let you know if it’s good or not. If the
world doesn’t like it, still, continue to find a
creative outlet to express yourself and put
what you want to put out there.
www.chilalay.com
49
50
GOOD
DAY RVA
By Andrew Necci
Even as the members of Good Day RVA tell
me about the plans for their upcoming A
Good Day In RVA festival, shaking their heads
over the amount of work they still have left
to do, they can’t hide their excitement. That
excitement has fueled this film production
collective from the beginning. And while
the amount of time, money, and effort the
group has poured into their efforts over the
past three years has resulted in a less than
prolific work rate, they’ve compensated by
producing some of the best music-related
short films to come out of Richmond--or any
other city--in that time.
Good Day RVA was founded in 2012 by
Chris Damon, Evan Hoffman, Will Weaver,
and Matt Cowan, and has since expanded
to over a dozen members. The group
currently includes (deep breath) Tommy
Terrell, Christian Gregory, Jesse Clark,
Will Weaver, Coldon Martin, Chris Damon,
Kevin Willoughby, Evan Hoffman, Craig
Zirpolo, Mackenzie Werner, Matt Cowan,
Glen Piegari, Brendan Williamson, and PJ
51
Desutter (all but the last three are in the
picture that accompanies this article). “Our
main goal is to promote [Richmond] bands,
and to promote the city,” Damon says.
Their work combines these goals, filming
live performances by various Richmond
bands in significant locations around the
city. Beginning with a performance by Black
Girls shot inside a mausoleum at Hollywood
Cemetery, they’ve since used such locations
as Belle Isle (Nelly Kate), Main Street Station
(White Laces), and the top of City Hall (The
Trillions). And locations aren’t the only
way Good Day RVA set their videos apart
from the many live musical performance
series you can find on YouTube. The group
augments the live performances, shot on
digital video, with 8mm footage shot in and
around the location.
This juxtaposition originally came about by
accident. “I took a Super 8 class with [VCU
film professor] Dana Ollestad at Studio Two
Three around the time of the first video,”
says Hoffman. He then took some 8mm
footage during the video shoot. The group
liked the footage so much that they made
a point of shooting similar footage for all
of their subsequent videos. “It’s preserving
that old character of film,” Hoffman says. “It
creates a separate narrative.” Damon agrees,
attributing an element of the supernatural to
the 8mm segments. “We tell a ghost story
with the Super 8 [footage].”
The idea for A Good Day In RVA was born not
long after the group began releasing videos.
At a time when they only had a few videos
available online, this was a way for them to
shine a spotlight on quite a few great local
bands in one fell swoop. Weaver describes
the lineup of the festival’s inaugural edition
in May 2014 as “everyone we love,” though
Damon hastens to point out that they’d “only
scratched the surface.” “We could probably
do this four times over and never have the
same band,” he says. Indeed, this year’s
lineup features 14 bands without repeating a
single band from last year.
As with last year’s, the second annual A
Good Day In RVA festival will take place at
Hardywood Park Craft Brewery--a location
Good Day RVA is extremely happy with.
Damon calls Kerry Anderson, Hardywood’s
hospitality manager, “a guru. She is very
much responsible for a lot of the way the
festival ran.” In fact, the group has a lot
of admiration for Hardywood in general.
“Hardywood has really fostered this new
sense of urban community, and have created
their own mini-scene there,” says Coldon
Martin. “So we were really excited about
bringing the indie rock scene into it.”
Martin also played the festival as a member
of Lightfields, and found the experience
to be just as positive from the performing
52
end. “It was this really incredible, surreal
experience,” he says. “[The show] was way
bigger than anything any of the bands are
used to playing, and there was a camaraderie,
a leveling of the playing field. Everyone was
part of the shared experience.” The fact
that the show ran like a well-oiled machine
the entire time didn’t hurt. “The way that
[inside stage soundmen] Bryan Walthall
and James Seretis, and Mike and Todd from
Backstage, who were [doing sound] outside,
coordinated it, each band was no more than
2 minutes off their cut time,” says Cowan.
“The other band [would] start immediately-it was perfect.”
‘Please get off the stage’.”
Perhaps nothing that spontaneous will occur
at 2015’s A Good Day In RVA Festival--but
this year’s edition has plenty to recommend
it regardless. It will feature the same
elaborate stage design that captivated so
many attendees last year; the inside stage
at Hardywood will feature a space theme,
while the outside stage will be decorated in
prehistoric fashion. The event will feature
tabling by WRIR 97.3, The People’s Library
& The People’s Paper Co-op, Rag & Bones
Bicycle Co-op, Stuff Redux, Girls Rock! RVA,
Love This, and more. There will be food trucks
aplenty, and of course lots of delicious craft
As awesome as a well-coordinated showcase beer from your gracious hosts at Hardywood.
of excellent local bands will be, these
are not the only highlights attendees can And let’s not forget the bands! This year’s
expect from 2015’s edition of A Good Day festival will feature performances by
In RVA. The group’s interest in set design, primitive washtub-banging punks The
such an important aspect of their videos, Nervous Ticks alongside the psychedelic
will be reflected in the stage sets. “When indie sounds of Avers, the Easternwe started, we said, ‘Let’s invite some influenced ambient sounds of Lobo Marino,
art vendors and some nonprofits’,” says and Nelly Kate’s hypnotic electronica. Also
Matt Cowan. “It snowballed into elaborate on the bill are Manatree, Ben Shepherd,
designs with props all around. I credit Erika Christi, Half Bascule, Basmati, Toxic Moxie,
Ogier and Rachael Cohen at Stuff Redux with Sports Bar, Way Shape or Form, Murphy’s
taking the lead and creating the sets for us. Kids, and a special surprise guest that
They essentially wanted us to use their stuff should knock everyone out. It’s all taking
for free.”
place on Saturday, May 9 beginning at 2 PM
at Hardywood Park Craft Brewery, located
The result made quite an impression on at 2408 Ownby Lane--and just in case you
showgoers. “People were taking pictures of aren’t sold yet, admission is absolutely free.
the stage, [and] of the mannequin dressed up
in the furry purple costume,” says Hoffman. In the meantime, Good Day RVA has plenty
“This would be an opportune time to implore more to do. They’ve recently obtained 501(c)
whoever made off with the purple suit to (3) non-profit status under the auspices of
please bring it back,” Cowan interjects. EnRichmond, and are planning to launch an
They’re not upset about the costume’s Indiegogo campaign soon. They’ll film the
disappearance--they’d just really like to see latest entry in their live performance video
someone wear it at this year’s festival. “We series, featuring garage rockers Warren
don’t care, you can keep it,” says Cowan. Hixson, in April. And of course, all of the
“Just wear it.”
members are hard at work to make 2015’s A
Good Day In RVA Festival even better than
Even more memorable than the purple last year’s.
costume’s
disappearance
was
what
happened while Navi was playing. “[Some In the three years they’ve been working
women] got off a bus on the tail end of a together, Good Day RVA have gotten a lot
brewery tour,” says Cowan. “This woman accomplished. The fact that everything
[got onstage] and started hitting the they’ve done has been of incredibly high
cymbals--bam bam bam,” Hoffman adds. quality despite the scheduling and budgetary
“And [Navi drummer] Kyle [Flanagan] is like constraints they’ve had to work under only
‘Don’t cut your hand,’ because his cymbals proves that nothing is going to stop them
are all broken and jagged--but [Navi] were now. From their eminently watchable live
loving it.” For his part, Navi guitarist Jon video series to the second annual A Good
Hawkins has fond memories of the incident. Day In RVA--sure to be one of the best live
“I felt someone walking on the stage behind music events of 2015--Good Day RVA are
me and thought to move so they could doing amazing things. Don’t miss out.
[stagedive],” Hawkins says. “Then I could
hear the woos right next to my ear. I’ve never For more details on A Good Day In RVA, the
seen Kyle look so nervous playing drums in group’s upcoming Indiegogo campaign, and
my life. That made me laugh. I think I later their ongoing live performance video series,
heard that it was a bachelorette or birthday visit gdrva.com.
party. I hope it was as memorable for them
as it was for us.” “Navi was the perfect
band for that incident to happen with,” says
Damon. “Any other band might’ve been like
53
54
AMY BLACK AND
THE PINK INK FUND
By Emilie Von Unwerth / Illustration by Drew Snyder & Ant
“I told my assistant very point blank, ‘Listen,
most of these people are going to be really nice,
but it’s a heavy subject. I get it. If it’s too much
for you, just say the word’,” says tattooer Amy
Black from behind her desk. We chat in her
Carytown studio – a warm and inviting space
that functions as both tattoo shop and office.
She’s explaining the nature of “contact calls”
- precursors to an appointment. Black, who has
been tattooing for over fifteen years, started
doing what are called ‘post-mastectomy nipple
and areola repigmentation,” aka nipple tattoos,
about four years ago. “Contact calls are hard,
because you get a list of five breast cancer
survivors, and you’re supposed to call them and
say, ‘Hi! I’m contacting you about your tattoo!’”
Black, who began the Pink Ink Fund in 2011 as
a way to ensure this procedure was available
to those who couldn’t afford it, says the
mastectomy tattoos only account for around
“one percent” of the work she does. “I couldn’t
do [them] full time. It would just be too heavy,
and extremely repetitive.” In fact, she’s had
a very successful career outside of her work
with breast cander survivors. She’s won Style
Weekly’s “Best Tattoo Artist” every year since
2011. She’s been featured in BUST Magazine,
has done Ted Talks, and has been a guest
lecturer at the VMFA.
Although she’s also known for her natureoriented and traditional tattooing, Black
explains she can’t pigeon-hole herself when
it comes to a particular style. “There’s not
one single [style] I go back to, because that’s
not how I stay motivated and energized,” she
says. “I love traditional tattooing – don’t get
me wrong. It’s the main core of everything I do.
I just don’t publicize it... And you know, there
might be three main things that I switch back
and forth from, but I know for a fact that if I only
did one style, it would not keep me motivated
and re-inspired.”
So, is that kind of how you started with the
repigmentation? Just wanting to expand?
No. I got a cold call, out of the blue, by a breast
cancer survivor. And she was searching for
a tattooer who could do something superrealistic, vs. what she was seeing done, which
was more of a really standard recoloring. But
she just had an implant – a flat implant; she
didn’t have a reconstructed nipple. So she
needed a 3D look.
better. And that’s by learning the structure
underneath [the skin]; the musculature, the
bone – the skeletal structure,” she says. “I
ended up loving it. Oh my god it was so rad. All
of that was just a natural love, but was it going
to make me a living? No, probably not.”
But now you’re doing it on the ultimate
canvas!
I know! It’s so strange! So that’s how it
culminated into doing this.
Was the first repigmentation you did scary?
No… no. Because at that point in time, I’d
been tattooing for ten years, so I knew the
skin. I knew how that was going to react...
I’d also researched enough to figure out
where the implant was lying underneath the
tissue. I studied it, so I was like, “Yeah, this
should be ok.” The only big challenge is that
How do you do that – the 3D Look?!
regardless of whether you’re doing a nipple
Using all the stuff I learned in college, tattoo or if you’re doing a traditional diamond
whenever I was doing figurative drawing and or something, you’re expected to, or at least
painting. And of course it’s not oil paint, and you should hope, that you’re able to please
it’s not drawing, and it’s a totally different that client right there, instantaneously.
canvas--but the main, basic ethics and rules
of how to create light and shadow and use But that’s how the whole mastectomy tattoo
came about. It just fell into my lap. The lady
perspective.
didn’t know me. We had no contact with
Black explains that she became fascinated with each other before she just contacted me out
human anatomy while in art school. During her of the blue.
foundation years at college, she found herself
gravitating toward and enjoying her required
anatomy classes. “It had so much to do with
actually being able to draw the human form
55
Did you ask her how she’d heard of you?
I think if you’re going to handle it the
healthiest way possible, you are going to
bring that to the table. And not everybody
is, and I’m not a robot. I care about [each
person], and I want to let them know that I
care--that they’re not just another number
coming in and out. It’s a big deal for them.
I honor that, and I let them know that I’m
aware of that.
She had independently been cold calling
shops around town and was hoping to find
a woman - and she didn’t have to, but she
was going to feel more comfortable. Her
second question was “Can you do this?”
And I was like. “Yeah.” But it wasn’t just
like, “Sure, I guess.” It was like, “Yeah I can
totally do this! I feel really confident that I
I think a lot of people, when they ask these
can do this!”
kind of “emotional” questions, they’re
trying to figure out how it would feel for
How many years ago was this?
them. And from that perspective, it is,
like, mindblowing. Like, you set up the
I think it’s about 4 years ago now.
rest of your year knowing you’re going to
Do you know, roughly, how many you’ve talk to at least one breast cancer survivor
a month. Every month for the rest of... as
done since then?
long as you do this. If you want to try to put
some context on it. But do I get caught up
I don’t really keep count. Hundreds?
in that? No. That’s not the point. I’m here
Something that attracts me to this story to do a service as best as I can for these
so much is that breasts are such an people, and be as centered and focused
integral part of gender identity. And we’re and grounded for them as I can.
constantly bombarded with imagery of what
they’re supposed to look like by the media. I How long does it take?
can’t imagine losing mine. What I’m trying
to ask is, is it an emotional experience? For For just a standard nipple and areola – for
you, interacting with this kind of client – the 3D – it tends to take 30 to 45 minutes
how does it differ from doing a traditional a side. For me. So that can’t be said for all
tattoo? In my mind I’m like, “Oh my god, I’d people that do this.
be so affected!” But you do this a lot. I guess
it’s probably similar to the way doctors
approach it.
56
Black started the Pink Ink Fund as a “gut
reaction to having started the service.” She
wanted women to know that, regardless of
health insurance status, they could receive
this service. Black wanted women to be
able to breathe a sigh of relief--after all the
chemotherapy, all the hardship and loss,
they’d be able to have this one thing taken
care of.
Nipple reconstructive surgery was considered
an optional procedure by insurance companies
until 1998, when the Women’s Health
and Cancer Rights Act (WHCRA) clearly
defined a woman’s rights post-mastectomy.
Repigmentation was and still is considered by
many insurance companies to be an elective
procedure. As Black explains, the nipple tattoo
“was supposed to be a part of [the WHCRA],
but it’s changed a lot.”
Black tells the story of a woman – a buddy
of hers – who was in her late twenties and
living week-to-week at her table waiting job.
Her entire family was BRCA (BReast Cancer
susceptibility gene) positive, and they, as well
as her doctors, had been pressuring her to
get a double mastectomy and hysterectomy-all before she was 35. So not only was this
woman terrified of the prospect of getting
cancer, she also had to think about whether
or not she wanted to get married and have
children. With everything weighing on her on
these deep levels, she was also thinking, “How
am I going to look if I get this surgery?” She
sent Black a message thanking her for the fund,
because at the end of the day, she knew the
money was there if she needed it.
“That’s why I made it,” says Black, as she points
her finger on her desk. “For her. Because there’s
probably thousands of her... People who aren’t
sure how they’re going to pay for this one last
part.”
walk out the door, and I just saw them stop
and kind of look at each other... I was trying
to, you know, not stare at them, and give
them their time, even though they’re like four
feet away from me [laughs].
Anyway, [her husband reached into his
sleeve] and pulled out this bracelet that was
like, tan. They both looked at each other and
I was just like, ‘OK?’ Then I figured it out
– it was [a] pink [silicon Livestrong-style
bracelet] – he had been wearing it since they
started.
With the recent rise in social media, breast
cancer survivors have been able to share That’s the kind of thing I was talking about – I
empowering post-op photos of themselves, don’t think I’d be able to handle it. But that’s
possibly contributing to a rise in less traditional an awesome moment.
reconstruction procedures.
It was just so sweet to me! I mean, the
I read about women who have had double bracelet was like [points to my offwhite
mastectomies, and there’s at least one notebook page] that color by the time she
photo on your site of a woman who chose was done. And then he finally took it off! I
not to get the reconstruction, who chose, was like, “Holy shit, guys, I can’t believe you
rather than reconstruction and traditional just did that in front of me.” He could’ve
repigmentation, to get a vine tattooed across taken it off whenever she had done her last
reconstructive surgery – those are way more
her chest.
dangerous and way more invasive than what
It’s definitely more uncommon. But I think I’m doing. I’m really just on top there for a
what’s great is that – if you keep tabs on it half an hour or so.
at all – we’re gonna see a rise in that. There’s
a movement of people who are more open But it really is – and this is a terrible
about that, sharing... empowering photos euphemism – the icing on the cake.
[of themselves], empowering stories to
let women know, “Oh look, there’s another No no, they say it, too – you’re not the
woman who went through what I did. She only one. I get it. I always make sure that
didn’t get reconstructon, and she looks everybody knows, I’m super aware; I do not
beautiful and says she feels great.” So that’s try to make it seem that I’m some type of
big deal just because I’m adding that nipple.
something new right now.
The hard work is being done by the medical
It totally goes back to the societal pressure staff that are getting her though the cancer. I
to look a certain way, and shattering those get it, though. I realize that’s the end of their
norms. Using yourself as a platform to do that journey.
– that’s hard. Especially with something like
It really is though. Although I’m speaking
your breasts.
from no experience at all, to me, it’s like…
At this age, you’re not married. But if you feel you’re you again. In a certain way.
like you need to have a relationship, how are
you going to broach that when you’re dating? Yeah, women get that.
Like, oh by the way!
In her TEDx Talk, “The Power of a Two Inch
Yeah, like, “I don’t have these things that are Circle,” Black explains the concept of a “drivereally important to a lot of people who are by,” which was introduced to her by her clients.
For breast cancer survivors, she explains, “the
attracted to women.”
drive-by is that moment that you walk past
Yeah, and “I also have a pretty decent amount the mirror every morning on your way to the
shower, and you have to see your scars.” In her
of scarring instead.”
TEDx Talk, Black says her clients tell her the
Do you have any really touching stories that nipple and areola repigmentation helps quiet
the constant reminders of cancer.
stand out?
[There was] this one lady who had brought
her husband in, and the appointment was
fine, everything was cool, jovial; [we were]
having a good time, and everybody was in a
pretty good mood. She was getting ready to
Like pasties, almost?
Yeah! And forcefully made yourself wear
that all the time, for at least a week.
Just to see how that felt. And not just
[that] – it’s like, totally different breast
shapes and sizes that they’re dealing
with. The fact that at the beginning,
that psychological impact of being
told you have cancer is like getting hit
with shell shock. And thinking of [all
the treatments you may need] – that’s
the heavy stuff. Then you get into the
reconstruction portion, which is also a
whole ‘nother ball of wax.
The placement of what you’re doing –
do you try to make it even to the other
breast?
That question changes per client.
Whatever they want, kind of?
Yep. And that’s where I’ll bring that
other level of service. First of all, it’s
giving them the power of choice back-which is so critical to healing. They’re
not given a choice at all until that
point. They do get certain ones--they
don’t have to get implants, but if they
want them they have to get either gel
or saline. That is something they can
control [only] to a finite point. But the
first option I give them is do you want to
retain your original look?
And are some people like, ‘no?’
Yeah. Some people are so jazzed on
their new ones! They’re like, “I hated
my old ones; I did not like the color of
my nipples, so let’s do something totally
new.” And some people are like, “I loved
my old ones, so if we could at least try to
get the color back…”
How is it, generally, when people see the
finished product?
I prep them as much as I can nowadays
– just like, “Get ready, it’s going to be
super bright the day of [the tattooing].”
But most of it’s been great. Most people
are very happy.
Amy Black’s studio is located in Carytown
at 3125 West Cary St. For more information
about the Pink Ink Fund
visit pinkinkfund.org
I always thought it might be an interesting
social experiment to somehow figure out
how to – I don’t know how you’d do it. But
think about if you just took some fleshcolored silicone thing.
57
58
59
RECORD REVIEWS
A PLACE TO BURY STRANGERS
ANOUSHEH
TRANSFIXATION
(DEAD OCEANS)
MAKE NOISE
(ANOUSHEH.COM)
The Brooklyn trio continues to try and capture the
magic that made their 2007 self-titled debut record
stand out. Unfortunately, on their new album, they
missed the mark again. However, they do so more
creatively than in the past by dabbling a bit in
Swans territory, but still staying true to their noise
rock origins. (DN)
Anousheh Khalili has left audiences spellbound
for years, and Make Noise may be her greatest
achievement yet. The presence of this record
feels commanding while perfectly articulating the
dreamy landscapes she has quickly developed.
The melodies are enchanting and the entire record
should be stuck on repeat for months to come. (SC)
JOEY BADA$$
B4.DA.$$
(CINEMATIC/RELENTLESS)
On his first full-length release, Brooklyn rapper
Joey Bada$$ offers a tribute to the New York rap
that came before him. He borrows sounds from the
‘90s--splashy beats over moody bass and chopped
jazzy piano samples--offering up the perspective of
someone who was in diapers when influences like
Nas and Wu Tang Clan were at their peaks. (TS)
THE DECEMBERISTS
WHAT A TERRIBLE WORLD,
WHAT A BEAUTIFUL WORLD
(CAPITOL)
After embracing their pop capabilities on 2011’s
The King Is Dead, Colin Meloy and company retain
plenty of elements of that style, along with their
trademark melodies that mature with each listen.
Here, the meta-narrative stands out, with songs
like “The Singer Addresses His Audience” and
“Anti-Summersong” referencing plenty of The
Decembrists’ fifteen year career. (DN)
60
BJORK
ANT THE SYMBOL
THE KING OF NOTHING
(aNtthesYmBOl.BaNDcamp.cOm)
Here’s a powerful dispatch from a talented young
RVa beatmaker. local mcs lay down fierce lyrics
over Ant’s smooth, dark beats (BCMusic1st, The
Honorable Sleaze, and Reppa Ton are standouts).
But the beats are the real star here--as they should
be. RVA producers better watch their back, because
Ant The Symbol’s gunning for the throne. (AN)
BLACK LIQUID
VULNICURA
(ONE LITTLE INDIAN)
ON AIR (LIVE ON WRIR 97.3 FM)
Chronicling a sudden and traumatic breakup with
artist Matthew Barney, the Icelandic singer’s ninth
album is another milestone in her acclaimed career.
While Vulnicura is challenging on every possible
level, the amount of raw emotion that is in each and
every song makes this one of the most emotionally
devastating albums of our time. (DN)
Black Liquid gets back to his roots on this
compilation of freestyles from his WRIR radio
show, spitting hard over old-school hip hop
instrumentals and keeping it creative across 17
tracks, long after you’d expect a project like this to
get samey or boring. The fact that it never does is a
tribute to Liq’s talent. (AN)
DISCOURSE
saNItY DecaYs
(CLOSED CASKET ACTIVITIES)
Dissonance can refer to many things; in the case of
Discourse’s music, it refers to gnarled guitar riffs that
make the band sound like a mixture of “mathcore”
godfathers Botch and the absurdly angry Advent.
Despite how clichéd this band’s overtly straight edge
message is, this album will go down as one of the
greatest heavy releases of 2015. (CE)
(NOISETRADE.COM/BLACKLIq)
APHEX TWIN
COMPUTER CONTROLLED
INSTRUMENTS, PART 2
(WARP RECORDS)
This is an aptly titled EP--the release is comprised
of tracks made up of samples of acoustic drums
and piano, manipulated and sequenced by Richard
D. James. From goofily menacing electronica to
oddly serene solo piano pieces, it is typical Aphex,
but this somewhat lopsided series of goofs is a very
enjoyable slice of James’ strange brain. (CE)
D’ANGELO AND
THE VANGUARD
BLACK MESSIAH
(RCA)
Nearly 15 years after his last release, the
Richmond-raised singer/songwriter/composer/
musician returns with a meticulously produced,
style-hopping album that was definitely worth the
wait. D’Angelo’s personal touch and attention to
detail take familiar sounds and themes and twist
them into something fresh and new. (TS)
DRAKE
EVANS THE DEATH
In the middle of Cash Money’s implosion comes a
release by Drake that, while not his best work, might
be one of the most talked about releases of his
career. While the drive is there, the collection lacks
some focus and that killer instinct Drake’s portrayed
previously. Still, this record contains plenty of prime
songs, albeit none destined for radio. (DN)
The recent revival of female-fronted jangle-punk
sounds has been refreshing. It’s good to see Evans
The Death, one of the leading lights of said revival,
following up their solid 2012 debut. With Expect
Delays, they advance their sound into slightly darker
territory without sacrificing the punky catchiness
that has previously been their
calling card. (AN)
IF YOu’Re ReaDINg thIs
IT’S TOO LATE
(OVO SOUND)
expect DelaYs
(SLUMBERLAND)
Shannon Cleary (SC), Cody Endres (CE), Andrew Necci (AN), Doug Nunnally (DN), and Tyler Spindle (TS)
CIGARETTE MACHINE
(CASTLE FACE)
EX-CULT
DaRkNess BeYOND
(DARK DESCENT)
HACAVITZ
JULIANA HATFIELD THREE
WhateVeR, mY lOVe
(AMERICAN LAUNDROMAT)
THE ARK WORK
(thRIll JOckeY)
This 6-song follow-up to last year’s outstanding
Midnight Passenger LP carries on to some extent
with that album’s post-Cramps horror-garage
feel and slight tinges of post-hardcore chaos. The
band mixes things up with a couple of extended,
repetitive passages which conjure up VU-ish
intensity. Result: a scorcher of an EP that’s over way
too quick. (AN)
Darkness Beyond’s artwork perfectly sets the listener
up for the experience of the album: a grainy photo
of the moon, looking minuscule, floating above
a landscape that looks as if it could snuff out the
barely-glowing satellite. Sharp musicianship,
somewhat muddy production, and enveloping
atmosphere add up to create an excellent slab of
Mexican black metal. (CE)
The power trio reunites with more grunge music
masquerading as power pop...or is it the other
way around? Here, the focus is much poppier, but
what made you fall in love with them is still there.
It’s useless debating where this ranks compared to
their previous work, but it’s clearly not a blemish
on a fantastic career, either. (DN)
controversial NYc black metallers liturgy have
returned in significantly altered form. Blast beats and
tremolo picking show up here on occasion, but more
often, synthesizers and chanted vocals dominate the
soundscape. The goal seems to be hypnosis through
repetition, which works intermittently. I loved their
other LPs, but have no idea what to make of this.
You’ve been warned. (aN)
PANDA BEAR
NATALIE PRASS
PANDA BEAR MEETS
THE GRIM REAPER
(DOMINO)
SLEATER-KINNEY
LITURGY
STARLITO
NATALIE PRASS
(SPACEBOMB)
NO CITIES TO LOVE
(SUB POP)
BLACK SHEEP DON’T GRIN
(GRIND HARD LLC)
Attention to detail sets Natalie Prass apart from her
contemporaries. Every song on her debut full-length
has precise orchestration and shows a penchant for
personal storytelling. These songs are the musings
of an artist who’s already taking the world by storm.
At this early stage of her promising musical career,
Natalie Prass is already ahead of the game. (SC)
No Cities to Love is essential listening for any music
fan. Sleater-Kinney picks things up right where
they left off and delivers one of the best releases of
2015. This is the perfect product of three artists that
work together unlike any other outfit in the music
world, and songs like “Bury Our Friends” are great
examples of that. (SC)
A former signee of Cash Money Records, and one
of hip-hop’s most consistent, prolific underdogs,
Starlito combines laid-back delivery, deft humor,
and introspective emotion skillfully on this latest
full-length. Smartly, ‘Lito enlisted features from
more aggressive rappers to balance out his leanedout flow, including a few from Don trip, his former
co-star on the brilliant Step Brothers mixtapes. (CE)
TITLE FIGHT
THE TRILLIONS
VIET CONG
YOUNG GUV
The punk rock sound of Title Fight’s previous
records is downplayed here in favor of more refined
melodies. at first, Hyperview seems to fall short, but
as you delve deeper into each song, you uncover a
wealth of mature lyrics that match perfectly with
the sonic direction of the album and would have
been wasted on a straightforward punk record. (DN)
(THETRILLIONS.BIGCARTEL.COM)
Some records are worth the wait. The Trillions
never disappeared--they were simply preparing to
cement their place in the Richmond music scene.
Superposition does just that; everything we’ve come
to love about The Trillions is on full display. The
dynamics switch throughout songs like “Sunburn
War” and “Right Til Proven Wrong.” This is high
concept rock at its best. (SC)
While sticking to the familiar themes of his solo
work, like aging and the new responsibilities that
come with it, Noah Lennox still manages to keep
his output moving forward by simplifying and
streamlining his creative process. The result is a
more lush and all around fun album than his last
release, the serious and sober Tomboy. (TS)
hYpeRVIeW
(ANTI-)
SUPERPOSITION
VIET CONG
(FlemIsh eYe/JagJaguWaR)
RIPE 4 LUV
(SLUMBERLAND)
On their debut LP, Viet Cong take 21st century
post-punk and dial back the seriousness and severity
a notch. angular grooves, dissonant riffs, and
monotone vocals get cut with blissed-out synth noise
and almost-catchy melodies. The infusion of new
influences provides a breath of fresh air to a genre
that’s been dragged down by its own weightiness.
(TS)
This solo project from Fucked Up third guitarist
Ben Cook is some smooth and clear indie pop that
shifts back and forth from vaguely punk-influenced
power pop to downright chillwavey sounds at
points. The result is spotty at best--only two of the
eight songs here really justify repeated listens. For
superfans only. (AN)
61
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FAVORITES
STILL AVAILABLE
}
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8."*/45
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10 YEARS OF RVA MAGAZINE 2005-2015

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