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SPACEBOXX has landed in Richmond.
I feel like anything that makes Richmond a stranger place is a good thing and I gotta say this surprised me. A spaceship is landing in RVA and it is driven by new Richmond pop group SPACEBOXX. Now the question is can the upcoming album live up to this video?
More at www.spaceboxxuniverse.com
The Riot Before: Record Release Party Thursday 6/10/10 at Strange Matter
Strange Matter, formerly known as 929, The Nanci Raygun, and Twisters, is once again hosting great shows and putting out great food and drinks (including a solid beer selection), and tomorrow night will be no exception. Richmond punk rock band The Riot Before is celebrating the release of their second LP, entitled "Rebellion," and will be playing a full set with support from loud-rockers Worn in Red and fellow punk group The Great Explainer.
The Riot Before, whose members you've probably sat next to at one bar or another in Richmond, has been around since 2004, and has been likened to such bands as The Gaslight Anthem, Small Brown Bike, and Against Me! They also released a music video for their track "We Are Wild Stallions" in mid 2009.
The show kicks off at 9 PM, with a $5 entry fee. Merch will be available towards the back of the bar.
DAILY RECORDS : Beach Fossils, Adam Franklin And The Bolts Of Melody & Ceremony
Beach Fossils - Beach Fossils (Captured Tracks)
This isn't bad, per se; I really like the lo-fi minimalist indie-pop style Beach Fossils are exploring, and they do have a few really great melodies. Nonetheless, there's not enough variety to hold my interest over the entire album. Try changing the tempo once in a while, guys!
Adam Franklin And The Bolts Of Melody - I Could Sleep For A Thousand Years (Second Motion Records)
Former Swervedriver frontman Franklin returns to working with a full band after a decade of acoustic solo work. This isn't as noisy and rocked-out as Swervedriver, but nonetheless boasts Franklin's unerring melodic sense and a definite fuzzy, shoegaze atmosphere. If you miss Creation Records, you'll enjoy this.
Ceremony - Rohnert Park (Bridge Nine Records)
This band has a few interesting ideas, but they mainly use them as change-ups from their monotonous, generic hardcore, which makes up the majority of the album. 80% of this is aggressively boring, and the halfway-interesting interludes just seem like wasted potential.
Weezie's this Sunday
Ike as in Dwight - http://www.myspace.com/ikeasindwight
Ghost Lotions - http://www.facebook.com/pages/Ghost-Lotion/71650020311
DAILY RECORDS : Sea Of Bees, Typhoon
Sea Of Bees – Songs For The Ravens (Crossbill Records)
The first term that comes to mind when listening to Songs For the Ravens, the most recent full-length for Sea Of Bees, is “easy”. This word can be related to the album in different ways depending upon the general listening persuasions of each individual listener. For a fan of atmospheric, indie-leaning pop music, the album is easy in the sense of being readily accessible, borrowing liberally from the more compelling aspects of comparable artists – for the most part it falls somewhere between the elfin whimper of Joanna Newsom and the damaged Americana of recent Wilco albums. The problem is that, despite the lack of anything especially unpleasant, there is an overall slickness which can render the proceedings somewhat disingenuous.
Which is not to say that there is much specifically wrong with the album. No notes or instruments are off-key or out of place. The most obvious points of comparison are as au courant as any hip indie rocker could hope to be. The problem is that, where many of the aforementioned influences are unafraid to incorporate a little dissonance or a bit of a challenge to the listener, Songs For The Ravens possesses no real grit, nothing messy, sticky, or otherwise compelling about the album. It’s the sort of Starbuck’s/Muzak version of indie rock – a heavily-crafted nod to Pitchfork-friendly reference points which also won’t alienate anybody’s mom. Which isn’t to say all the songs are bad. Most are pleasant enough, but fail to distinguish themselves from each other or from any number of like-minded acts crowding South By Southwest stages and vying for Myspace friend requests.
There are promising moments, however. Songs like Gnomes and Marmalade show hints of a better-developed version of the Sea Of Bees sound, slightly darker and more country-oriented – not far from older Neko Case but also not a direct imitation. If songs like these predominated, this album would be a far more memorable endeavor. As it stands, however, there is little contained herein which makes a convincing case for repeated listens.
Typhoon – Hunger + Thirst (Tender Loving Empire)
This album is a trainwreck. Equal parts sub-Conor Oberst melodrama and sub-Arcade Fire orchestration, it is difficult to say whether Hunger + Thirst would be a better album if the band decided on a focus or not. While a multifaceted approach to songwriting is a commendable trait in any album, this particular album doesn’t really pull it off. It would be easy to say that it suffers from schizophrenic songwriting – a mélange of mopey sad-boy vocals and occasional uptempo horn sections – but even that descriptor suggests a manic swing between moods. As it stands, this album mixes the moderately sad with the moderately happy, a robotic approximation of joy and its opposite which sells short the spectrum of emotional experiences available to us all as human beings.
As stated earlier, it is hard to say whether this would be any better if Typhoon decided to stick with a singular approach. Their version of sadness is toothless and their version of happiness sounds like they just woke up from a long nap. So perhaps it’s for the best that they attempted to combine these variations on a theme, because their attempt at emotional range seems to be the only thing they have going for them. Even the instrumentation, which supplements the standard guitar/bass/drum rock and roll line-up with horn sections, toy piano, and upright bass often seems under-utilized, as if it’s a sort of window-dressing which exists only to cover up the songs’ inclination towards insipid melodrama.
In a nutshell, this is a tepid, soulless attempt to rehash the sort of sensitive-emo-boy-with-a-guitar thing that was huge ten years ago (a la Dashboard Confessional) in the guise of squeaky clean choir boy indie orchestration (a la Anathallo). Any listener who enjoys music with heart, soul, or originality should stay far, far away from this.
RVA RADIO : DJ RNS aka Manotti da Vinci, "An ElektRemixed State of Mine"
The above information is from DJ RNS. To check out more go to the website www.djrns.com If you would like to be featured on RVA RADIO - contact us at hello@rvamag.com.
Iregula Hip-Hop dance fusion conveys brand new ‘State of Mine’
Hip-hop has reached a new level of art for the masses. The trance theatrical is unguarded but sharply tuned for the onset mental screening. The artful vibes embody exuberant production that transmits vainglorious dance grooves that are emphatically complimented to a mature Trip-Hop.
Richmond, VA | April 30, 2010 – DJ RNS is after something more this time. His arty alter ego, Manotti da Vinci, has composed a symphonic masterpiece fusing dance beats and hip-hop. The wired, trippy, acidic sounds of hip-hop can not only be heard but bridge influence over the electronic music genre. “An ElektRemixed State of Mine” will enhance your musical perception after witnessing a mash-up of the hottest sounds, creating a pulsating texture that is illustrated through your speakers. The ElektRemixed State of Mine album is lead by the hit club single, “Tell Da Coppers,” as featured on Audio Academy’s 2010 Winter Music Conference Battle of the DJ’s II. In two weeks of competition, the single allowed DJ RNS to finish in the Top 100 as a new participant amongst over 500 entrees. DJ RNS has put his stamp on the game and his vision embodies a new scene with his album's release regulating your ears on an artistic escape to disc. Are you ready?
DAILY RECORDS : Tame Impala, Pete Francis & Integrity
Tame Impala - Innerspeaker (Modular)
The way Tame Impala mix fuzzy psychedelic shoegaze with a charming pop sensibility makes me think of The Boo Radleys, but I know everyone's forgotten that band by now, so I'll point to The Flaming Lips, Dungen, and Brian Jonestown Massacre instead. If you dig those bands, you'll want this.
Pete Francis - The Movie We Are In (Scrapper Records)
This is the sort of mannered, vaguely psychedelic pop that people compare to the Beatles. It's pleasant enough, but I just can't get excited about it. If Pete Yorn and Peter, Bjorn and John are equally thrilling to you, though, you will probably find something to like here.
Integrity - The Blackest Curse (Deathwish Inc)
Integrity's legacy is somewhat marred by the spotty albums they released in the early 2000s, but I still can't keep from getting excited when they release something new. This album merits my excitement--chugging, thrashing, and roaring with the frightening intensity of their best work. Embrace the evil.
Winnipeg's Uptown Magazine Interviews Strike Anywhere
The following short interview is via Winnipeg's Uptown Magazine. Barnett reps the scene here in Richmond, VA.
KEEPING IT REAL
Strike Anywhere frontman Thomas Barnett sounds off on Richmond, Va.’s
hardcore scene and making the jump to the majors. by Jared Story
Keeping it real, Richmond, Va.’s Strike Anywhere keeps its tune-length in the one- to three- minute range, but the band sure says a lot in that span.
The punk/melodic hardcore act touches on topics such as women’s rights, animal rights, racism, police brutality, economics and globalization. While SA manages to contain its message to Ramones-like lengths, the band’s energetic, knowledgeable and very forthcoming frontman Thomas Barnett isn’t so easily limited. Here’s the very condensed version of Uptown’s conversation with him.
UPTOWN: Why does Richmond produce so many great bands? In addition to Strike Anywhere, you’ve got Gwar, Avail, Lamb of God and Municipal Waste...
BARNETT: You get this sense of aristocratic conservative, kind-of-militarized, Christian pro-capitalism culture (in Richmond). It doesn’t really ask any questions of itself, the newspaper is a joke owned by the tobacco companies, there’s not a lot of critical thinking on the surface of Richmond, Va. You just get a lot of celebration and grandeur, so anybody with a soul and half a brain is going to find some flaws in this. That’s why you get all the bands, that’s why you get the protest culture, that’s why you got Gwar, Avail, Smoke or Fire, Landmines, Government Warning, Direct Control, Down to Nothing, it just goes on.
DAILY RECORDS: The Henry Clay People, Landmine Marathon, & This Or The Apocalypse
The Henry Clay People - Somewhere On The Golden Coast (TBD Records)
Not much new here--these guys mostly remind me of The Hold Steady, but with prettier vocals. But that's not to say they're bad. In fact, they've got some pretty great singalong anthems here. The Henry Clay People put the emphasis on songcraft, and it pays off big time.
Landmine Marathon - Sovereign Descent (Prosthetic Records)
Brutal metallic hardcore with crust influences; this style is usually my jam, especially when produced this well. But Landmine Marathon's songs, most of which stretch past the four-minute mark, overstay their welcome. Their riffs are great, but they play them too many times. They need an editor.
This Or The Apocalypse - Haunt What's Left (Good Fight Music)
I haven't heard a mall-metalcore (think Avenged Sevenfold, Bullet For My Valentine) record that I've liked in at least five years. I thought the style was played out. And yet, I'm all about This Or The Apocalypse. Their production is somewhat robotic, but the songs are undeniable. Who knew?
DAILY RECORDS : Thou & Flying Lotus
Thou – Baton Rouge, You Have Much To Answer For (Robotic Empire)
There are albums in which the understanding of a single, unifying element is the key to grasping the totality of the music contained therein – a sort of Rosetta Stone which helps give some insight into the artist’s creative process and can render the arcane relatable. When listening to the newest release from Baton Rouge doom metal outfit Thou, the final song – a distended cover of Nirvana’s “Sifting” – serves that purpose well. Not that Thou sounds like Nirvana per se, but there are analogs in the aesthetics of each band – a sluggish punk-infused rawness, a strangled sense of melody – which carry over from the latter to the former.
Of course, most listeners likely would not immediately notice the Nirvana influence – the comparison relates more to a creative approach, and musically rings truest primarily during the queasy dissonance of “By Every Hand Betrayed”– sonically, the record is far more allied with a handful of the more memorable doom metal acts of the past twenty years or so. Vocally, the most readily apparent comparison is to their fellow Louisianians in Eyehategod, a harsh death rasp that is unfalteringly caustic. Musically, the band veers towards the minor-key gloom of Burning Witch or Samothrace but, on songs like “Out Of The Mouth Of A Fool,” manages to intersperse spacey psychedelic passages which would not be out of place on recent Boris albums, an effective means of breaking up the monolithic darkness.
Despite the album’s lumbering pace, however, there is a sense of energy contained in the songs which belie their tempo (which varies from plodding to trudging depending on the song), a fierce anger directed towards an apathetic and exploitative world, a stance more closely aligned with the band’s punk origins than the largely apolitical doom metal scene. The lyrics are bleak, often reading like T.S. Eliot by way of Discharge, but not without a guarded sense of hope. “Decimation may be our only saving grace,” howls singer Brian Funcke “or will we stand eternal?” There is a lyrical subtlety on this album as well, at least, compared to previous releases – whereas earlier albums had featured the bluntness of songs like “Smoke Pigs,” Thou’s newest album relies less on didactic extremes than it does on ruminations on late capitalist spiritual annihilation. Their approach is reminiscent of many ‘90s hardcore bands like Ire or His Hero Is Gone, who understood the power of a slow tempo to emphasize the world-weariness in their gloomy sound – a glacial pace conveys desolation extremely effectively.
Thou’s newest release is a challenging album, and not just in the standard record review sense of the word “challenging.” It is uneasy listening, to be sure, but it is no more or less than a reflection of the world as seen through the eyes of the frustrated and the aware. There is no escapism, no niceties – only four extended meditations on desolation, oppression, and the redemptive, cathartic power of well-focused anger. by Graham Scala
Flying Lotus – Cosmogramma (Warp Records)
It must be pretty cool being Flying Lotus. I mean, he made a name for himself on Adult Swim of all places making the bumper music between some of our fave new school cartoons, then promptly moved in to take over the underground beat scene with the abstract ease of a seasoned vet. I can’t lie, I got up on FlyLo a bit late by some people’s standards and became a fan just before his first full length Los Angeles was released on Warp Records in 2008. Since that album dropped I’ve been attached to every artist and release on his Brainfeeder label hoping to get a taste of what his next full length would have in store. Nothing really prepared me for the masterpiece that dropped on May 3rd, 2010. Yeah I gave it away: I LOVE this album and I’m about to tell you why.
Jazz. Flying Lotus (born Steve Ellison) is the nephew of Alice Coltrane and John Coltrane. This cat has jazz vibes running through his blood and it becomes more evident than ever on Cossmogramma. This album feels more like an extension of the experimental jazz interpretations that both John and Alice experimented with later in their careers but FlyLo has managed to merge that aesthetic with the modern progressive beat production movement which is where his popular foundation is most firm. The space horns and free jazz drums of “Arkestry” would fit in comfortably played after John Coltrane’s “Om” , while the vocal/piano/string arrangement of “Mmmhmm” could easily be used as part of the score to a 70s Sun Ra blaxploitation flick. The lead single “Do the Astral Plane” is a 4 on the floor uptempo groove that is a good representation of the album as a whole and Thom Yorke’s low key cameo on “…And the World Laughs With You” is just one of many quality vocal performances spiced throughout this primarily instrumental album.
Cosmogramma will definitely turn a few ears up when you put it on at a party. If that’s not your scene then put it on and surprise yourself. There’s a lot in this album from the free jazz/dubstep blends of “Recoiled” to the galactic space funk of “Nose Art” so take your time to enjoy this audio soundtrack in it’s entirety. It’s worth the 42 minutes. Trust me. by Mikemetic
Trent Reznor's latest project, How To Destroy Angels, releases free EP download
Trent Reznor (frontman of the famed Nine Inch Nails) has a new project, How To Destroy Angels, and their EP is available at the link provided. Also on the project is his wife, Mariqueen, who fronted West Indian Girl, and the extremely talented Atticus Ross, who has done production and programming for Trent Reznor in the past. Download, and enjoy!
RVALUTION 8 : VERSUS
This has been building for months as the guys behind the decks will finally go head to head in a tag team battle at RVALUTION this week. The Audio Ammo crew have been building their rep on sold out parties at Club 534 while the PLF have been performing to bigger and bigger crowds on the artwalk and regional burns. Its the best of the best that Richmond has to offer on stage at the Hat Factory tonight! Bring your friends and make sure to use "RVA" as your promo code to get the VIP discount.
If you dont know about RVALUTION -
Six RVALUTIONS in Six Minutes High Res from Squirrelly Jesus on Vimeo.
photos by DopeOnPlastic
by David Kenedy
DAILY RECORD: Alcest – Ècailles De Lune (Prophecy Records)
Since the inception of Alcest a decade ago, the band has been riding a wave of artists who straddle the divide between the atmospheric blur of shoegaze and the primal aggression of heavy metal. So-called “metalgaze” likely would have been inconceivable as each respective genre defined itself during its nascent years, a time in which mopey, black-clad My Bloody Valentine fans likely considering themselves a world apart from mopey, black-clad Mayhem fans (and vice versa). However, more recently a handful of artists have been creating music under the precept that the two genres share a wall-of-noise aesthetic which is more unitary than divisive. While bands like Jesu and the Angelic Process utilize a heavier approach more allied with doom metal, Alcest was among the first to devise a shoegaze-black metal hybrid.
Midnight Soulstice: Deep Diggin’ Vol. 09
Midnight Soulstice is a Richmond Soul and Funk radio show, hosted by Mr. Felty & DJ Pari, featuring guest artists and DJs.The show airs every Friday from 11pm-1am EST. Listen live at 97.3fm or WRIR.org
We have another great show coming up tonight. As part of our popular Deep Diggin’ series, Midnight Soulstice co-host DJ Pari will dig deep in his crates of vinyl treasures and pick out some of his all time favorite grooves - rare Soul and Funk, Boogaloo, even funky Jazz. Expect two hours of an excellent selection of the music you love!
BOUNCE 025 :: XSV "Live @ The Box"
This week we have XSV from Charlottesville VA - bringing you a great mix that spans a few different genre's.
Tastemakers Reinhold and Jennings bring you BOUNCE, our showcase of the best in local and regional deejays sets. PLF/RVA - working on bringing you the newest sounds from all over! For all the information you need email john@rvamag.com.
BOUNCE 025 XSV "Live @ The Box"
DJ XSV (born Rob Bedford) has been djing and producing for over 11 years. Inspired by Hip-Hop's early years, he absorbed the essence and energy of the heyday crews like Eric B. & Rakim, Ultramagnetic MCs, and Public Enemy; groups that prominently featured DJs in their ranks. After washing dishes in a restaurant for an entire summer, a 16-year-old XSV bought his first set of turntables and mixer. His first real gig came when he was 18 years old in Pensacola, FL., where he played for an empty room for no pay. What others would have thought of as a stumbling block, XSV only saw as an opportunity to improve and hone his skills. In San Diego, he found ample opportunities. Fraternities and sororities at San Diego State University started booking him for their parties and events. With more gigs came more exposure and recognition, until eventually, he became one of the most demanded DJs in the area. In 2005, all his efforts in the southern California area paid off when he had the pleasure of opening for Snoop Dogg and The Black Eyed Peas to sold-out crowds at San Diego's Street Scene festival. Long gone were the days of playing for empty rooms.
Always looking for a chance to grow, DJ XSV moved to the east coast and eventually Charlottesville, VA. Although he has lived in Virginia for less than four years, XSV has already left his mark on Central Virginia by djing for local hip hop stars The Beetnix, as well as working with bands Space Cadet 7 and Guerilla Tactics. Since coming to Charlottesville, XSV has played up and down the east coast, opening for acts such as DJ Spooky, Guru, DJ Vadim, Bassnectar, Kid Koala, amongst many others. In this day of ever-evolving music, DJ XSV is always on the cutting edge and continuously looking for new ways to share his music.
-------------------> CLICK HERE TO GO TO THE PODCAST
DAILY RECORDS : Janelle Monae, Melvins, & We Were Promised Jetpack
Janelle Monae - The ArchAndroid (Bad Boy/Atlantic)
Retro-soul (featuring non-synthesized instruments!) meets ambient sci-fi production on this slice of futuristic funk by P. Diddy's latest protege. Straight-up dance tracks like "Tightrope" are the immediate hits, but psychedelic curiosities like "Mushrooms And Roses" reward repeat listens. The most intelligent, creative R&B record in recent memory.
Melvins - The Bride Screamed Murder (Ipecac)
Their legacy long since assured, the Melvins are free to be bizarre. To that end, this album veers rapidly between legit rockers and total weirdness--extended drum fills, ridiculous vocalizations, etc. Can you enjoy having your mind messed with? The answer will determine your enjoyment of this album.
We Were Promised Jetpacks - The Last Place You'll Look (Fat Cat)
This EP is somewhat insubstantial. The songs it contains are more like skeletons than finished songs. And yet, it's hypnotic at points, even strangely beautiful. I'm not sure if there's really enough there to make it worthwhile as a whole, but it's certainly not a complete waste of time either.
DAILY FIX: Theophilus London
I've been keeping this close and I tried to deny it but the beats, the flow, the vibe - its all working for Theophilus London. I can't stop listening to these tracks. Cop the This Charming Mixtape for free here and check the videos below the break.
DAILY RECORDS: Deftones, Dangers, & Horsehead
Deftones - Diamond Eyes (Reprise)
Although they are sometimes reviled for their nu-metal past, Deftones have thankfully shed all resemblance to Korn. Their latest release mixes chugging guitars with surrounding layers of atmosphere, creating a dark emotional feel that's almost like Sunny Day Real Estate. Compelling and subtly catchy, Diamond Eyes will win you over.
Dangers - Messy, Isn't It (Vitriol/Penguin Suit)
Emotionally-driven hardcore that no one would ever think to call "emo." Dangers keep things heavy and intense but more importantly interesting, incorporating a wide variety of sounds and ideas, and topping it all off with insightful, thought-provoking lyrics. In a cookie-cutter genre, this record stands out.
Horsehead - Before The Bright Lights (Emerald City Sounds)
Horsehead don't invent any new subgenres on their latest LP, but that's OK. They have the talent and the songcraft to make their midtempo country-influenced rock songs catchy and memorable. What more can you ask for? Fans of Ryan Adams and Uncle Tupelo will find plenty to like here.
Loud Music Tonight at The Triple: When Dinosaurs Ruled The Earth, Bermuda Triangles, MORE
Community Chest books some of the best shows in RVA, and here's proof. Tonight at The Triple:
WHEN DINOSAURS RULED THE EARTH are from Austin, TX and will rule your ears and stomp your brains, BERMUDA TRIANGLES are on acid, FLOATING COLORS float all around the badlands of VA, _+_ is from a cabin in Manassas and may have an axe, GHOSTTYPE haunts a local Kroger, I've seen it!!!! 10 PM sharp!!! Don't be fashionably late or you will be fashionably sorry, we're cramming a lot of music in 4 hours so it will have to start ON TIME, cram time!!!!! Tell your friends, tell your neighbors, tell your mom...this will be a stomper...
FIVE BANDS FIVE BUCKS!!!!!!
http://www.myspace.com/lildinos
http://www.myspace.com/floatingcolors
http://www.myspace.com/bermudatriangles
http://www.floatdissolve.com
http://cnproachmotel.blogspot.com
RVA RADIO: DJ Jackie O, "GRIND"
RVA RADIO brings you the best in regional deejays. Tonight we bring you Jackie O from DC.
"Whether it's on the mic or behind the turntables, DJ Jackie O is ready to set the club scene on fire. With her punk stylings and hip-hop swagger, she's rocked parties with Willy Joy (URB's Next 100) in Chicago to Taxlo (voted best party in America - Blender Magazine) in Baltimore. From crunk hip-hop anthems to electro dancefloor stormers, DJ Jackie O is known to set crowds into frenzies. She's already shared bills with heavy weights such as Dan Deacon, Scottie B, King Tut, Say Wut, Maluca and Dave Nada. In dc Jackie O holds it down with 2 monthly parties: the hit 90s hip hop night KIDS, and her musically eclectic creation $weat$hop, which she runs with Trevor Martin. She was recently nominated for a WAMA award (Best Electronic/Dance DJ) and called one of DC's Top 4 Hottest DJs by Modern Luxury Magazine."
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