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Purposeful Dissonance: Opin’s Media & Memory

Robin Schwartzkopf | October 9, 2020

Topics: Egghunt Records, electronic, experimental, Jon Hawkins, landis wine, media and memory, music, Opin, richmond va bands, Spacebomb studios, Tori Hovater, WarHen Records

On their latest album, Opin trades in a traditional lineup for a fresh approach, in which every member can play every instrument. 

After their 2017 debut album and an EP the following year, Opin is back with an experimental, electronic sound journey perfectly suited to a year of oddity and struggles. The band’s new album, Media & Memory, drops Oct. 23, and will be accompanied by a remix album.

A broken wrist and unfamiliar instruments — not to mention a pandemic and months of lockdown — might not sound like a recipe for success for a band recording their sophomore album. But for Opin, the Richmond-based trio made up of Jon Hawkins, Tori Hovater, and Landis Wine, the project was an experimental journey years in the making. 

PHOTO: Opin by Warren Parker

The new record, Media & Memory, comes three years after the band’s debut self-titled album, but a lot has changed since the first album’s release. After releasing their first LP with Egghunt Records, Media & Memory arrives via WarHen Records at the end of the month. The new album is the result of more experimentation in writing and production than the band’s previous projects. 

“I feel like we hit our stride with this record, because about 90 percent of it was written with three of us in a room,” Hovater said. “Jamming, picking apart ideas, and playing things over and over again, deciding what we did and didn’t like.” 

While their first album had more of a piecemeal recording process — band members and producers sent bits of material back and forth, from city to city — Media & Memory represented a chance to work together and build the album’s sound from the ground up. 

“We were unlearning what we had to do, and figuring out what we wanted to do,” Wine said. “It sounded more focused, more like a band, and like less like a group of people trying to duplicate the sound of a record.” 

“We all realized we were into the same sound and going for the same thing,” Hovater added. “Rather than ‘this person wrote this song, this person wrote this song,’ we were all able to see it playing in a room together. We gave immediate feedback on each other’s ideas and built on things.” 

With more time to work together, the band was able to try out new instruments. They also took advantage of the group dynamic to learn different techniques. Wine picked up a Bass VI guitar, and Hovater built her keyboard and digital synthesizer expertise. As they discussed how they traded instruments during the recording process, Hovater and Wine bounced answers off each other with a similar ease and excitement. 

“I think our gear and hitting our stride in a collaborative writing process are very intertwined,” Hovater said. “If you asked us two years ago who our bassist was, we would say Jon.” 

Wine added that Hawkins had never played keyboards before joining Opin. 

“Now, anybody could be bassist, anybody could be playing the hook,” Hovater said. “Between us, we all trade parts around and we’ve all written different parts. It’s really cool, because A) We don’t get bored since we don’t do the same thing all the time, and B) It keeps things interesting. It’s a fun way to use our gear to play any part at any time.” 

Although Wine injured his wrist in the middle of recording Media & Memory, the band didn’t go on hiatus. Instead, a few songs were dropped, some were rewritten, and two tracks were added to the final project. 

“That was dumb as hell,” Wine laughed. “But I was determined. I was like, ‘We’re gonna do this.’” 

A tight record at nine tracks, Media & Memory still has room for a lot of experimentation — and even more character. With so many different ideas, the songs are a cohesive listen with what Hovater calls “a purposeful dissonance.” 

“We have a lot of fun. We have major stuff going on, minor stuff going on, and lines that maybe don’t seem like they should fit… but they lock in with everything,” Hovater said. “If I listen to a part someone is writing, the last thing in the world I want to write is a complementary part that you’d expect to hear.” 

“The more we played together in a controlled environment — and just got used to doing that over and over — we developed our own way of interacting with one another,” Wine added. “Thematically, [the album] develops its own mood after a while.” 

PHOTO: Opin by Warren Parker

The band gathered at Spacebomb Studios to record the album live. It didn’t leave much room for error, but tracks with the relentless spirit of Media & Memory. 

“This record is gnarlier, dirtier, spookier, and more cinematic than what we have done before,” Hovater said. 

After two years of work and facing both personal and global struggles, Opin’s newest release is a small bright spot in a mess of a year. The trials Media & Memory faced during its journey to completion are evidenced in the raw artistry found in each song, and the sprawling creativity of the album in its entirety. 

Find Opin on Facebook and Instagram, and stream their music on Bandcamp. 

Top Photo: Opin by Monica Escamilla

Deau Eyes Is Here To Stay

Alicen Hackney | May 8, 2020

Topics: Ali Thibodeau, Deau Eyes, Egghunt Records, Let It Leave, richmond bands, Richmond va music

Today marks the long-awaited release of Deau Eyes’ first full-length album, Let It Leave, on Egghunt Records. We caught up with Ali Thibodeau to get the full story behind her all-encompassing debut release.

Creativity and positivity mesh in a stylistic rainbow with power and purpose in Let It Leave, Deau Eyes’ first album. Deau Eyes is Ali Thibodeau, a Richmond-based songstress who’s stories of adventure are only outnumbered by the immense amount of tassels on her fringe denim jacket. To encapsulate some of these stories and make her biggest musical debut yet, Thibodeau is releasing her first ever full length album as Deau Eyes, the aforementioned Let It Leave, on May 8, and she couldn’t be more excited for you to hear it. Truly she couldn’t, she’s already released a number of songs off the album in anticipation.

“Full Proof,” “Some Do,” “Paper Stickers,” and “Parallel Time” have all been released to various media prior to the album itself, including videos for each song on YouTube. Each song and video is special in its own way, and each captures a slice of the vastly different energies created throughout the album. 

“The heart of this song is about finding what lights the fire inside of you and really pursuing that no matter what is happening elsewhere in your life,” Thibodeau said of “Some Do.” “Being able to escape from something that is bogging you down or making you feel less than what you have to bring to the world.” The “Some Do” video captures this idea through an energetic use of big wigs, long denim tassels, and colorful cowgirl boots. 

The music video for “Parallel Time” was shot entirely by Thibodeau at various points of her life; traveling, practicing, enjoying huge pillow fights, and singing over an unanswered FaceTime call. The personal touch this video extends helps convey the DIY lifestyle Thibodeau holds dear, and brings everything about Deau Eyes down to earth. 

All of the videos add up to a visual version of the album that adds new textures to and expands upon what Let It Leave is all about. That is, of course, intentional.

“I’ve always kinda wanted to do that, but I’ve always felt like an amateur when it comes to video. I have a real passion for it, and I’m excited to have an excuse to be like, ‘Yeah, I was in the house, but here’s my iPhone videos that I made on iMovie. I did something,’” said Thibodeau. “It’s an alternative way to experience the album, whether or not we get to have our release show.”

Approaching the album release date during a pandemic has introduced a number of challenges that Thibodeau has chosen to take on with grace. As this is her first album, she had been looking forward to many new experiences: the album release party, the first big supporting tour, shows upon shows packed with good people and friends from all over. 

But as she says, “If my parents and my family have taught me anything, it’s that you always make lemonade out of whatever lemons you got. These are some really weird lemons, but we’re figuring it out.”

“It’s a weird combination of mourning how things were going but also being really excited about what I’m going to get to create with all of this time. There’s no pressure at all for anybody to be cranking out anything. If anything, this is a time when we all need to check in with ourselves and our intentions, and look at each other as human beings in the same world, having the same experience, and slow down,” said Thibodeau. “My current situation is that I’m in a house alone, so I’m calling a lot of friends and family, and I’m also having a lot more dance parties by myself and painting my face with all the eyeshadow that I have from my Ipsy bag and getting really weird. I’m trying to document it.”

And document it she will. The videos she’s already released are just the beginning; Thibodeau has been working on a visual representation for the entire album in the form of music videos, as an exchange for the in-person album release show experience. Aside from the four already released, the album has five more equally thrilling and lovable songs to work with. 

Photo via Deau Eyes/Facebook

Thibodeau is no stranger to change and adaptation, so this new quarantine experience can be added to a list of incredible times she has worked through for her ultimate benefit. Having been a waitress, baker, busker, Zumba instructor, and so much more, she has proven there is almost nothing the world can hand you that you can’t find a good adventure in. 

“I have a friend that does set design, and he made this huge Polly Pocket display for a toy convention. He needed someone to drive it in the back of a U-Haul across the country, and he thought of me,” said Thibodeau. “So, I just took a U-Haul across the country by myself with all this Polly Pocket stuff in the back of the truck. When I got to L.A. there was a Holiday Inn with a hot tub in the room, and I was just like, ‘Oh I’ve made it, I’ve really made it.’”

From wacky cross-country excursions to professional experiences most people only dream of, Thibodeau really has done it all, even making the cast at Universal Studios’ Harry Potter World. 

“I was a wizard at Diagon Alley in Universal Studios. I was a puppeteer and the narrator of a show called ‘Tales of Beedle the Bard’,” she explained. “That was a whirlwind two-week crash course of puppeteering and monologuing over a track. We would rehearse in the middle of the night; we’d be at Universal Studios at like 3 a.m.. It was wild.”

All of these experiences have contributed to Thibodeau’s music in its purpose and voice. Her life has not been linear, and Let It Leave reflects that. From one song to the next, there is so much to be gained from her inspired lyrics, set to various tones and aesthetics. 

“It’s almost like a meditative obsession that started when I was a kid,” Thibodeau said of songwriting. “It was never really about how good my guitar skills were or if I was going to be able to sing in front of people. It was always just something that centered my mind and helped me be concise with my thoughts and what was really going on at the heart of every situation. All of these jobs that I’ve had have shown me that life is about so much more than this one straight shot through, and I write a lot about that, and how I navigate chaos.”

Photo via Deau Eyes/Facebook

Back at the beginning of the Deau Eyes journey, Thibodeau posted a YouTube video asking for Kickstarter donations. She promised supporters that she would write letters, send pre-releases and t-shirts, and more, in exchange for their support backing the creation of her debut album. The grand prize was that you’d get your own live show in your living room. That one’s still available to be claimed. “No one really took me up on the living room show,” said Thibodeau, “which I’m still down to do if anybody reads this article and is in… like, I’m so down.”

She was glad for the opportunity that fulfilling all those Kickstarter rewards gave her to reflect on how much support she did receive.

“I love writing letters to everybody and taking time to really think about the person that was helping me, no matter how small the gift was,” said Thibodeau. “It’s so important when you’re making music to realize that people believe in you, because then you start to believe in yourself, and that changes the game.”

Thibodeau said that without the outpouring of support she received from friends and strangers alike to push the album into existence, Let It Leave might still be far from complete. It helps that, as she’s traveled, the friends she’s made have come around seamlessly, contributing to her story with theirs.

“It was a lot of people from all walks of life, from all these jobs I’ve done, and just friends that I’ve made along the way in different cities,” she said of her Kickstarter backers. “Whenever I’m traveling, I love just walking into a bar and sticking up a conversation with somebody — just for the story. I do a lot of things for the story. Mostly just entering the world with an open heart and knowing that you have so much to learn from literally anybody that you talk to. I think that just opens up a whole world.”

Photo via Deau Eyes/Facebook

Thibodeau has a strong desire to encourage those around her, and her music has become a primary way for her to do so. Having learned that life can change and take on many different forms you never expected, she aims to remind us all that we can go with our gut, that we are never glued to one thing in life. Whether you’ve been at a job that doesn’t fulfill you or spent too much time with a friend who, let’s be honest, isn’t a friend at all, she knows where your heart’s at. 

“I have this song called ‘Autonomy’ and I always say that it’s about self-love and independence, but I think it’s also about giving yourself permission to cut the bullshit out of your life, and giving yourself permission to not feel obligated to things that aren’t necessarily serving you,” she said. “I know I don’t know everything and I am still figuring it all out, but I feel really grateful that I’ve had these influences in my life that said, ‘Hey, I know you were all gung-ho about this one dream, but if it doesn’t end up being your dream at the end of the day, that’s okay.’ You can have just as much of a fulfilling life following your intuition, because at the end of the day we are so much more than what we do. We are valuable beyond our careers and what is making us money.”

Deau Eyes’ electric, heart-warming, vibrant debut album Let It Leave is out on Friday, May 8 through Egghunt Records. You can find it through the Egghunt web store, and on Bandcamp.

Top Photo via Deau Eyes/Facebook

Deau Eyes Gets Fancy

Allison Tovey | April 30, 2020

Topics: Abigayle Harris, Ali Thibodeau, Camille Teaux, Deau Eyes, Egghunt Records, Let It Leave, music, Parallel Time, Paul Major, richmond va bands, Some Do, Ted Day

With their video for “Some Do,” Richmond indie-rock group Deau Eyes presents a positive message of inclusion and acceptance — along with some excellent tuneage.

Ali Thibodeau is Deau Eyes, a Richmond-based singer-songwriter whose debut album, Let It Leave, will be out on Egghunt Records next month. However, a few singles from it have already been released, and the video for the latest, “Some Do,” sees Thibodeau collaborating with drag queen Camille Teaux to recreate the aesthetic on display in Reba McEntire’s “Fancy” video, but with a campy twist.

The “Some Do” video, which was released in February, stars Thibodeau, actor and drag performer Paul Major, aka Camille Teaux, and actress Abigayle Harris. Inspired by Reba McEntire’s music video for “Fancy” and the dark campiness of David Lynch films, it follows Thibodeau, Major, and Harris as they don bejeweled denim jackets and sky-high wigs, gleefully disrupting their 9-5 lives. The idea for the country glam music video originated with Thibodeau and video director Ted Day.

“The whole dream of being a country star, to me, feels like a fun thing to play on,” Thibodeau said. “We also really love wigs and [Day] loves to film with wigs, so it’s just a big playful collection of our favorite things to work with. We all made it tie into this theme of having your own little dream escape world, away from your day job.”

Shot in Charlottesville, Virginia, largely inside a friend’s barn, the video shows the three stars [Thibodeau, Major, and Harris] discontent with their daily life and the pressures to dilute oneself to fit in. Thibodeau casts herself as a waitress, proudly posing for her only slightly amused diner patrons — who were, by the way, actual restaurant-goers. Major shows up for his construction site job in full drag. Harris primps and prances in a high school hallway as slack-jawed classmates look on. The end of the video feels like a breath of relief, of total freedom in expression.

Major, a longtime friend of Thibodeau’s who previously performed with her when both were working at Dollywood, was delighted to collaborate with Thibodeau in actualizing this vision for “Some Do.”

“The song is talking about how people can be chameleons in their everyday life. But some people are really trying to fit in that box of whatever success looks like for them. And I love that the video celebrates that,” said Major. “You don’t have to do what everyone else is doing in order to be happy; you can be your true authentic self, and be able to express that in whatever it is that you do. Whatever your job is, whatever you’re going to be successful at, you can still have your passions and still be your true authentic self in those environments as well.”

The key to that freedom? A rhinestone-covered, fringed denim jacket that is truly a sight to behold. 

“When we were talking about what it would look like for the characters in the video, everyone needed to have a cohesive look and it’s challenging to costume everyone in the same look —  myself being 6ft.2in. and then having that same look for a teenager and for Ali. We were thinking what could be a simple nod to country, as well as reflective of the video and the fun of it,” Major said. “So we decided on the western jackets, French Western jackets. Ali and I came up with that concept of denim and diamonds. Then she and I created those jackets that we’re wearing in the video, and also designed and created the wig that all three of us wear. The hair and makeup and some of the costuming really helped add to the design and the concept for the video.”

Shot over the course of one day, the filming experience was “organized chaos,” as Thibodeau describes it.

“We all met up in Charlottesville at a friend’s barn out there,” Thibodeau said. “We had a great time. I brought bagels and we set up a whole little crafty section and a pickup truck and a bunch of donkeys came out of nowhere. It was just such a spontaneous thing, which is the way that I work best. It was awesome.”

Paul Major, aka Camille Teaux, in “Some Do”

Major agrees. “We were right outside of Charlottesville in November on a very, very cold morning. And in the barn, there was no heat. So we had some small space heaters. But for me, it was great, because having all of — you know, the padding in here and makeup and stuff — I was very warm,” he said. “It was interesting and fun to be running around Charlottesville in full drag, going to the school that we shot in, where there was still some staff around rehearsing for a musical. And in the restaurant that we shot, there were still patrons in there while we were shooting. So it was a really cool experience, to be able to share that with Ali.”

Collaboration and inclusion are important values to Thibodeau, and that is clear in both the music video and the filming process.

“I really wanted to, like everything I do, try to work with my friends and make fun stuff with my friends. I feel like that’s the whole point of choosing this career path, is having an excuse to do something exciting and make something new with the people that you love,” Thibodeau said. “It also pertains to the video and the song, because this song is all about how, no matter where you are in your life path, you have the option to change it up and to create whatever it is that you want to create. We made a point to make the video as all-encompassing and inclusive as possible, because the song reflects upon this Americana vibe, and it’s also reflecting upon the message of being able to be malleable and change. And that change being empowering and exciting and invigorating.”

Thibodeau was delighted to collaborate on this effort not only with longtime friend Major, but with director Ted Day and co-star Abigayle Harris as well.

“Ted is such a pro. He’s so, so talented, he’s one of the most generous artists out there. He’s just full of fun, zany ideas,” she said. “And then of course, Abigayle I hadn’t known, I met her the day of, and we just had the best time. She was so professional and just wonderful to be around.”

Major agreed that the entire experience was excellent. “It was great and the crew and Ted, the director,” he said. “Everyone was fantastic and making sure we had everything that we needed and felt comfortable doing what we were doing.”

Deau Eyes live. Photo by Jessie Jennison, via Deau Eyes/Facebook

A lifelong performer and trained triple-threat, Thibodeau has done it all, from choreographing musical theatre to singing at Dollywood and starring in numerous productions. Now, with Deau Eyes, she is stepping into her own, creating a unique indie-rock sound with music videos to match.

“I think the kind of music I make is very visceral,” Thibodeau said. “And it really varies from each situation. Sometimes it’s kind of a subdued and sweet songwriter-y, storytelling vibe, and sometimes it’s just ‘enough is enough’ rock music. It really depends on what emotion or what story I’m trying to get across.”

The concept behind Deau Eyes’ debut album came from a time of big changes in Thibodeau’s life.

“I felt like I had escaped my previous lifestyle, which was working as an actress and singer and dancer and auditioning every single day and just feeling like a cog in a machine going nowhere,” she said. “I did a lot of reflecting on my previous life, and the album is like my own version of a sly outlaw song of leaving behind a life, just torching it and moving into the exciting, wild unknown.”

The musical style found on Let It Leave was one Thibodeau began exploring during a gig that landed her in the midst of a new environment.

“I was working on a cruise ship at the time, singing country music and playing with my partner,” she said. “I was really, really digging into the story-song format during that time. The format — that verse- hook- verse- hook- verse- hook, there wasn’t much of a bridge or a true repetitive chorus per se — it was just a different format than I was used to writing in.”

Thibodeau is still young, but her artistic life has encompassed a lot, from cruise ships and Dollywood to busking on the street. Let It Leave sums all of it up to give the listener a window into who Thibodeau is and what she’s been through so far.

“Everybody only has one debut record and you’ve got like your whole life to make it,” she said. “This album was the culmination of a lot of different life experiences and different times in my life encapsulated… [Let It Leave] deals with a lot of life transitions, a lot of pain, a lot of growth, and a lot of empowerment through loss and leaving what doesn’t serve me anymore.”

Working on yet another video. Photo via Deau Eyes/Facebook

The songs on it weren’t necessarily ever written to share with the world, though; for Thibodeau, musical composition began as a therapeutic outlet for difficult emotions. “I never was somebody who was writing music for the sake of it being heard. It was always just kind of silly, something that got me through whatever I was going through,” she said.

However, the material that made up the initial burst of songs written for Deau Eyes was different; it had a greater hold on her than she’d expected.

“It became apparent that I was needing to write so much that it took over my time and my heart,” Thibodeau said. “So I really committed to it, and committed to sharing stories with others through songwriting and storytelling. I found it to be really fulfilling and really nice to have a shared experience with others, and to not feel so alone in those moments.”

With the help of an incredibly supportive Kickstarter campaign, Thibodeau was able to record the album with friends and fellow Virginians Jacob Blizard and Collin Pastore at Trace Horse Studios in Nashville, TN. With only two days in the studio, Thibodeau describes the recording process as collaborative and exciting, as she heard her songs come to life. 

“This record is really a sonic journey — it takes you through a lot of different styles,” Thibodeau said. “I love that it’s not just one style; I think it’s cool and representative of what my path has been thus far. It’s all sung with my voice in the most true way that I know how to portray the different chapters of my journey, and I’m really excited to share my little corner of the world, my little slice of life with everybody.”

Along with “Some Do,” there are already two more videos for Let It Leave tracks. They include “Paper Kites,” the video for which captures a live performance, and “Parallel Time,” an intimate look at relationships, performance, and travel. Of the latter video, Thibodeau said, “It’s the first music video I’ve ever made by myself. I feel just so empowered by that, and vulnerable in a really great, exciting way.”

Releasing the album in the midst of a pandemic-related quarantine has been less than ideal for Thibodeau, a self-identified extrovert who can’t wait to share her work with as many people as possible. However, she hopes to use more video presentations to combat the isolation inherent in our current cultural moment.

“I’m currently making a visual album,” Thibodeau said. “I’m getting ready to go do some filming right now.” Her hope is to eventually create visuals to accompany Let It Leave in its entirety.

“It’s weird because we’re living in a time where people aren’t out and about and talking to each other,” she said. “I’m usually out at every show I can be at in Richmond, because everyone’s so good, and I love to be around people. And there’s such unity out in town, but our conversations aren’t as frequent. So I’m really wanting to get the word out that I’m doing this visual album, so that people can still consume the album in an exciting different way.”

Let It Leave comes out on May 8 from Egghunt Records. The album can be preordered on vinyl from Egghunt’s web store or in digital format via Bandcamp.

Top Photo by Joel Arbaje, courtesy Deau Eyes/Lucky Bird Media

Ahead Of Their First Official Tour, Majjin Boo Get Criminal

Marilyn Drew Necci | March 12, 2020

Topics: Clever Girls, coronavirus, Criminal, Egghunt Records, Eyes Wide Shut, Go Between, Majjin Boo, music videos, Poor Boys, SXSW, touring bands

Coronavirus has led to the cancellation of their first official tour, but regardless, today, Richmond indie band Majjin Boo is releasing the first video from their Egghunt Records debut, Go Between.

UPDATE, 3/12/20, 3 PM: Due to concerns over coronavirus, Majjin Boo has announced that they will cancel their planned tour. Original article follows:

The melodic tangle of Majjin Boo’s interweaving melodies and complex guitar arrangements has been the most intriguing sound to come out of the Richmond indie scene in the last several years, and we’re not the only ones who’ve noticed — their excellent debut LP, Go Between, was released late last year by Richmond tastemakers Egghunt Records (who previously brought you Lucy Dacus, among others).

Now the talented sextet are preparing to head out on their first real tour — a weeklong jaunt that was previously intended to culminate with a performance at the legendary SXSW… that is, until coronavirus happened. But regardless of the high-profile festival’s cancellation, the group is still planning to regale several east coast and midwestern cities with their enchanting sounds — and before they do, they’re sharing the video for Go Between’s leadoff track, “Criminal,” with RVA Magazine. And we’re passing it along to you now!

Alternating between lovely images of pastoral forest and meadow scenes and some downright weird shots of masked figures that stalk those forests and meadows with unclear yet ominous intent, the video is both beautiful — as befits the accompaniment for such a lovely song — and creepy in an Eyes Wide Shut sort of way. What’s behind that mysterious bunny mask? What’s in that strange building deep in the forest? The ritual that brings the video to an end may shed some light on things… but you’re bound to be left with quite a few questions as well.

But don’t get caught up pondering what it all means; instead, you should head to Poor Boys on Thursday, March 12 (that’s tonight!) to enjoy one last Majjin Boo set before they shove off on their now-unfortunately-abbreviated tour. They’ll be sharing the bill with Egghunt labelmates Clever Girls, who hail from Vermont, as well as Richmond locals Strawberry Moon and Benet. On the whole, it should be delightful. Learn more here, and make sure you’re in the house tonight at Poor Boys, located at 203 N. Lombardy St. At only $5, it’s well worth the price you pay to get in (one we promise doesn’t involve anyone wearing a bunny mask).

Top Photo by Andre Magalhaes

Manatree Grows Up

Noelle Abrahams | September 12, 2019

Topics: Alex Elder, Egghunt Records, Engines, Jack Mayock, Jim Burns, Manatree, Rough Designs

Once a band of teenagers, the members of Manatree are adults now, and they’re continuing to evolve and expand their sound as they grow.

With three records under their belt, Manatree’s discography offers a compelling auditory journey of stylistic exploration, production innovation, and songwriting maturation. They’ve been a notable name in the local music scene for over five years now, which is impressive considering that none of them are over 25. Vocalist and guitarist Jack Mayock has been writing and performing with various lineups since 2009; the name Manatree was adopted for the project in 2014. 

Drummer Alex Elder joined the band during the recording process of Manatree’s eponymous debut album, which was released in 2015. Their sophomore LP, Engines, released in summer 2018, was written and recorded during a transitional period for the lineup. Bassist Jim Burns came on board about five months before their most recent release in March of this year, the Rough Designs EP. These three now comprise Manatree, and they generate a lot of high-quality noise for a trio.

Their first album, Manatree, has a cohesive math-rock sound, with quick tempos, lively guitar riffs, and straightforward vocals. “Fat Jackson,” the track that’s most exemplary of this style, still holds the record for their most plays on Spotify at around 30,500. But with Engines having only been out for just over a year, “On And On” is in good standing to overtake that title, with almost 11,000 plays already.

In contrast to their most recent records, the music on Manatree was designed to be performed live. Elder points out that Richmond is a very “rock town,” and the industry here tends to revolve around the live show. “Those songs were written for live performance, because that was our appeal, and we recorded them to be a good representation of that,” explains Mayock. But that process left them wanting more.

“You run into issues when you try to do a direct translation of the live sound, and it doesn’t always make for the most compelling music to record,” says Mayock. “But I’m still proud of that album — I still like it a lot.”

The first album is an important part of Manatree’s history, and the way it was created provides context that’s integral to understanding how and why their sound has evolved. With Engines, they did a complete 180 in how they approached both the writing and recording process. 

“We became more interested in recording, separately from the live sound,” says Mayock. “A lot of it was done at home on laptops. We’d find sounds, put them together, and then figure out how to reproduce them live later on.”

Alex Elder. Photo by Joey Wharton

What’s amazing to hear and see is that they reproduce those electronic sounds with organic instrumentation. Just your traditional guitars, a drum set, a trigger pad, and some pedals – no laptop, no synthesizer, not even a keyboard. “Maybe it’s us being foolishly stubborn, but we’re pretty against using laptops on stage,” says Mayock. 

And yet, their live sound imitates what you hear through your headphones with striking accuracy. That’s what makes Manatree so unusual. Sure, I could name about a dozen local projects that are incorporating electronic sounds into their rock music, but how many are doing it without incorporating computers into their live instrumentation? It definitely creates a greater challenge for the band in reproducing material from their more recent albums, but they rise to that challenge without hesitation.

If you listen to the three Manatree albums in chronological order, the evolution of their sound flows logically. On Engines, in addition to the electronic musical experiments on the album, the melodies, vocals and song structures had become more self-conscious, and ceremonious. “The more you make music, the more introspective and self-critical you become,” says Mayock. “Thinking consciously about how the way our music sounds and how it comes across is a big part of Engines.”

The timeline of the writing process for the album sheds more light on the transitions the band were experiencing. The title track, which is mostly acoustic, was written quite a few years ago. “Those songs were written over a long period of time,” says Elder. “‘Backwards’ was written when we were still playing the first album at shows, and ‘Brushfire’ was the last one written [for the album].”

Which makes sense, as “Brushfire” is the most electronically stylized song on the album, and serves as a premonition of their latest release, Rough Designs. “It was what we were becoming interested in, but it still fit on the album,” Elder adds.

Electronic sounds are heavily incorporated on all five tracks of Rough Designs. Part of the reason for this shift in style can be summarized as growing up. “I think how we sound is very inspired by being young in Richmond,” says Elder. “A lot of local musicians are doing the same thing — evolving with the city.”

Plus, the listening habits of songwriters Mayock and Elder have changed as they’ve aged. But the main reason they’ve experimented so much with their sound is that they have the power to do so. Listening to electronic music motivated them to learn how to make it themselves. “Over the last four years, we’ve had a much bigger interest in sound design and artists who focus on sound design as their main appeal over composition, because of the meticulous level of care that goes into designing the beat and creating the sounds that are used,” says Mayock.

There are two ways that Manatree approaches songwriting, and they’re quite different. One is in the typical style of garage bands, in which rhythms and melodies are derived naturally from “just playing music with each other and not really thinking about it,” says Mayock.

But the other way is very different. “Alex or I will be playing on Ableton, a digital audio workstation,” Mayock explains. “We come up with a sound that we like and then usually from that sound, you can get an idea of the melody and emotional context of the song. Then, we start playing around with it in a live sense, to interact with each other and figure out the song’s structure.”

Jack Mayock. Photo by Jennifer Challis, via Facebook

After recording their self-titled album at Montrose, a local studio, and releasing it with Egghunt Records, Manatree went DIY for their next two records. They recorded in bedrooms and home studios, mainly using friends’ equipment. They’ve now started to take that process into their own hands — their next record will be almost entirely independently recorded and produced.

“It wasn’t a statement, working independently. It just worked for our goals and how we were planning to tour,” says Elder. “When you do it yourself, you can release new music often. When you work with a label, you have to strategize. We had new music ready, and we hadn’t put out an album in awhile. Spotify has worked well for us, and we’re touring, so we know people are still going to listen and pay attention.” 

“A lot of musicians and songwriters don’t work this way, and I envy them, but it’s hard for us to figure out what we don’t like about our music until we’ve gone through the whole process of recording and releasing it,” Mayock explains. “It’s more advantageous for us as songwriters to release things often, rather than work on a cycle.”

They describe Engines as a team effort, with the help and creative input from friends in the industry. “We learned so much from that experience — from being in control,” says Elder. “We’re still figuring out how to record, but we have a better idea of what we want now.”

Jim Burns. Photo by Jennifer Challis, via Facebook

Cost is also an important consideration about recording in a studio, and you can’t put a price on the value of learning that process yourself. “It’s an entirely different skill set that’s equally as important,” says Mayock. “Studio recording can be really good for a band that knows what they want to sound like and just plays it, or has a ton of money. For us, it’s more worthwhile to use a similar amount of money to buy our own equipment and spend more time on the process.” 

Manatree began working on their next album about a month ago, and they’ve started writing a few songs already. They plan to do all of the recording themselves, with the exception of whatever live drums they want on the album. But it’s not going to be a continuation of Rough Designs — their songwriting process is moving in the opposite direction now, reflecting a different sound they want to create.

“We wrote Rough Designs as we were recording it, and then we learned how to play it live with Jim afterwards,” says Elder. “We realized it’s really hard to take it from a computer to the live setting and get it to sound how we want.”

That doesn’t mean the band doesn’t like Rough Designs; they’ve just learned that a different approach to songwriting and recording will yield better results, both live and in the studio. “We’re happy with the way it turned out, but now we think that for the best quality of live performances we need to write together,” says Elder. “And then record it after we’ve put the live energy into how we want it to sound.”

Their goal for the next album is to find a happy medium between electronic production and live performances. “We want the actual rhythms and structures of the songs to be recorded live, as opposed to using an electronic metronome. And then add any experimental qualities over that,” explains Mayock. “Engines was mostly recorded to a click track, which makes it really easy to synch up with electronic drums. It’s a fine thing to do, but it means that you don’t have the organic rhythms of naturally speeding up or slowing down when you’re playing live. We still want the recorded sound to be an integral part of the song, but it’s just more compelling to play live if it’s something more organic.”

Though he’s the newest addition to the project, bassist Jim Burns echoes these sentiments with his own ideas for the next album. Having been a classical bassist in college, he has a lot to offer creatively now that’s he’ll have a firsthand role in the process alongside Mayock and Elder. “I want to make the live setting more interesting,” he says. “I want that energy and composition of a great live track, but also something you haven’t heard before.”

Burns hopes to bring pedals, effects, and entirely different instruments into play. “My goal is to bring more live bass to the recording process and in turn, bring more of that electronic bass to the live performance. But without the laptops, of course,” he adds with a laugh.

Amidst all the musical transitions Manatree has experienced, the absence of computers on stage is certainly a pillar of their band that they’re committed to. Now that they’re talking about potentially circling back to the performance-driven sound that they formed around, it’s convenient that they never changed the name of the band. But it did cross their minds when they were undergoing those pretty drastic changes in style. “There was a discussion, like, ‘What is the name Manatree? What does it represent? Should we keep it as this body of work?'” says Elder. “In the end, the idea we went with is, what connects your work is the fact that you made it. We like that it shows an evolution of style, and thought it would be cool to see that progression.”

Photo by Jennifer Challis, via Facebook

So, what’s next for Manatree? Well, they’re working on new music and they play shows mostly on a month-to-month basis. They’re not full-time musicians — even though they’d like to be at some point — and they have busy lives outside of the band. “We’ve gone through phases of different mindsets. We took time off from school to work on Engines,” says Elder.

Currently, Elder is still in school, and Mayock and Burns have graduated and have jobs. “We do it at a manageable pace for a realistic lifestyle,” says Elder. “We put in enough time to feel like we’re progressing, but also still existing comfortably.”

Even though I can hear the intensity of artistic dedication in their music and the articulate way they discuss it, the trio carries an air of casual calmness that might just remind you of those 15 year-old kids doing it for fun. They’re clearly accomplished musicians, but they don’t come off as tormented, self-consumed artists, and it’s refreshing. They’re humble, and have a sense of humor; with their soft-spoken, deadpan delivery, they come across as quite charming. They’re committed, but they don’t take themselves too seriously, which is important. Because if you’re too serious, it’s just not rock and roll anymore, right?

You can catch Manatree with Wanderwild at Capital Ale House’s Richmond Music Hall on September 24, and make sure to follow them on Instagram for updates on shows they pick up in the meantime.

Top Photo by Jennifer Challis, via Facebook

Music Sponsored By Graduate Richmond

Mekong Xpress Delivers Funky Soulful Debut Album, ‘Common Knowledge’

Amy David | September 20, 2018

Topics: Egghunt Records, Kenneka Cook, Mekong Xpress, Mekong Xpress and the Get Fresh Horns, Montrose Recording, music, rva music, Sid Kingsley, the answer brewpub, The Camel

For a group of musicians who came together by accident, Mekong Xpress have kept fans coming back time and time again. Holding down a weekly residency at The Answer Brewpub since 2013, the lively, eclectic group has entertained crowds with their mix of vintage blues, R&B, and funk, and this month, we will finally get to hear what they’ve been working on these past few years with the release of their debut album, “Common Knowledge.”

“It was a really cool, organic experience, I’ve never had anything creative happen like this,” said bassist/vocalist Todd Herrington. “We’re all in heavy touring bands so any second that we had that we could get together, we put a mark in the studio and recorded some stuff.”

The story of how the band formed isn’t the typical “met in college” or “parent’s garage,” or “house show” tale. Herrington, along with guitarist Andrew Raspisarda, keyboardist Ben White (Cris Jacobs Band), and drummer Kelli Strawbridge  (KINGS, Mikrowaves) have An Bui to thank for bringing them together.

After noticing a regularly packed restaurant of musicians on Monday nights, Bui, who owns Mekong and The Answer, suggested the crew start performing at the West Broad Street restaurant.

“The next Monday, the whole back room was set up, we hadn’t played together or anything,” he said. “Some of us knew each other, some of us didn’t. It was a scene. Every Monday night, it was awesome. Everyone would meet there, and then An would teach you about beer, you would be there after hours he would cook for you, the musicians would get to talk about music and hang out.”


Soon, their casual Monday night jam session grew to a full-fledged band, moving over to play The Answer Brewpub a year later with JC Kuhl (sax), Bob Miller (trumpet), Toby Whitaker (trombone), and Hector Barez (percussion), coming on to amplify their sound and round them out as Mekong Xpress and the Get Fresh Horns.

In 2014, the band started writing together and in the fall of that year, they finally headed into the studio at Montrose, working with Adrian Olsen and Alex Spalding on material that would later make up their debut album. Known for their funky, groovy originals as well as covers, this nine-track album is all original material and a soulful collection of songs that was a collaborative process among the group.

The name of the album, also their second single which officially drops Oct. 9, is a personal message to a friend that Herrington said is a favorite among the members.

“We all love ‘Common Knowledge’ and the way it was written, it was this really great creative moment all of us we’re contributing and it was really cool,” he said.

With most members on the road constantly, touring with major acts like Shakira, Foxygen, Blues Traveler, Govt Mule as well as local big names like Bio Ritmo and Matthew E. White., Herrington said Mekong Xpress serves as a fun creative outlet for each of the members even though they can only get together once a week.

“It’s like a release. We can literally never play together other than these Monday nights,” he said.

Mekong Xpress finished up the album this spring and decided to put it out on vinyl through local record label, Egghunt Records.  Herrington has known Egghunt founder Adam Henceroth since childhood, and while they’ve released other material on other labels, when it came to their debut, he said he knew he wanted to collaborate with Henceroth.

“Adam and I had always talked about doing something together and when this project happened, I thought it would be fun to work with him,” he said.

To give you a taste of what’s to come, the band has released the first single, “Light On,” an upbeat, feel-good tune that’s got this super trancey 70s vibe to it featuring local producer Dj Harrison.

“It’s a quirky little thing. It’s another example of us writing together and throwing stuff at the wall and messing around with sounds and sections in the studio,” he said.

According to Herrington, much of the album pulls from the 60s and 70s. The song “Games” has an Earth Wind and Fire vibe for all you old school music lovers. But “Common Knowledge” doesn’t stick to any one genre so there’s a little something in there for everybody, no matter what you get down to.

“There’s instrumental stuff, there’s different genres all over. There’s some jazz funk tunes, there’s some classic rock tunes, some R&B stuff,” he said. “There was no plan we would just write, the four of us would just get together and sit in a room and play off each other and however it sounded was fine.”

And while they’ve performed at Cary St. Cafe and other venues around town, The Answer Brewpub is their home, where that chemistry and creativity initially sparked, and Herrington doesn’t see the band changing that up anytime soon.

“We’ll do it as long as he [An] wants us,” he said. “We love being here, it could be a great crowd it could be three people, it doesn’t really matter, we’re here to just make music together.

Mekong Xpress will throw their record release party next Fri., Sept. 28 at The Camel, with performances by Kenneka Cook and Sid Kingsley. The official online release of the album will drop Oct. 19.

Photos By: Joey Wharton Photography 

 

Music Sponsored By Graduate Richmond

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