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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

Grace Vonderkuhn, Gold Connections, Fat Spirit, and Doll Baby at Hardywood

Joe Vanderhoff | February 23, 2018

Topics: Doll Baby, Egghunt Records, Fat Spirit, Free show, Gold Connections, Grace Vonderkuhn, Hardywood

Today Grace Vonderkuhn is releasing her debut full length album on EggHunt Records. You can pick it up on vinyl on EggHunt’s website or head over to her bandcamp to give the album a spin! Grace Vonderkuhn is an official SXSW 2018 artist, but you can catch her playing a FREE show in a little over a week at Hardywood with the following sick lineup:

Stacked show. Admission is free. Beer is amazing and not free.

Grace Vonderkuhn (Egghunt Records)
Grace Vonderkuhn is currently set to release of her first full length album, slated to drop in early 2018. The album, entitled Reveries, is a look inside Vonderkuhn’s waking dreams and musings, ultimately revealing her view of the ethereality of life. The honesty and intimacy of her lyrics pair with driving power pop, post punk, and surfy licks, making the freshman album a thoughtful, energetic, and unpredictable ride.
Facebook.com/gracevonderkuhn

Gold Connections (Fat Possum)
It takes an exceptional record to have the staying power that lasts nearly a year. Will Marsh’s debut EP under Gold Connections is one of those rarities…a fiery piece of indie rock goodness.” – The Revue
http://www.goldconnectionsmusic.com/

doll baby (Egghunt Records)
Hell Block stands as one of my favorite projects I’ve heard yet out of the local scene. Storey’s vocals are as unique as they are powerful, and the chemistry between the members is quite evident in the perfect cohesion they demonstrate on this EP. The first track “Alive” is super impressive. Right off the bat, Storey’s vocals piqued my curiosity. – RVAMag
https://www.facebook.com/dollbabyrva/

Fat Spirit (Citrus City Records)
The whole ride through this record though (and it is definitely a ride, I couldn’t ever quite predict what they’d do next), Fat Spirit incorporates a gorgeous and colorful range of sounds that I’m not all that used to hearing from bands who write emotional music. They manage to be atmospheric and hazy without sounding apathetic about it, which really makes this album stand out for me. – Dust Up
https://www.facebook.com/fatspiritrva/

Richmond’s Lucy Dacus Drops New Visuals For “Addictions”

Ash Griffith | January 23, 2018

Topics: Egghunt Records, indie, Lucy Dacus, Matador Records

Richmond indie songwriter Lucy Dacus has been riding high on the wave of her success since releasing her debut album, No Burden via Egghunt Records in February 2016. From major accolades from Rolling Stone, Time Magazine, and USA Today, to signing to Matador Records, recording a Tiny Desk Concert session on NPR, to performing at Bonnaroo, Lollapalooza, Austin City Limits, and Delaware’s upcoming Firefly Music Festival, the “I Don’t Wanna Be Funny Anymore” singer’s career doesn’t seem to be slowing down anytime soon.

Dacus recently released a new video for “Addictions,” the second single off her forthcoming new album, Historians, due out March 2 via New York-based Matador Records.

Her debut single, “I Don’t Wanna Be Funny Anymore” may have kicked her musical career into high gear, but this new single off the upcoming album already shows miles of difference and growth. While “I Don’t Wanna Be Funny Anymore” may have been an indie rock hit worthy of Jenny Owen Youngs or Sleater-Kinney, “Addictions” reads very reminiscent of Of Montreal.  

“Addictions” allows Dacus to use her film school knowledge to direct the video, and take the audience on a trip through the past. As the narrator fluctuates between the world of color and the world of black and white, the audience follows her on a journey of ultimately deciding to stay with her past and succumbing to those addictions. 

The song itself is about “reaching into the past and returning to toxic relationships” according to a post Dacus put up on her Facebook page about “Addictions”. While the video itself may come across a little confusing initially, the song, with its catchy lyrics and booming horns courtesy of Richmond’s own No BS! Brass Band, hold it all together as Dacus chants the crescendos of  “You’ve got addictions too, it’s true”  into the fields.

The video was filmed and edited by David Muessig and there are quite a few beloved Richmond spots too in there, so see if you can spot them!

If the rest of Historian is anything like “Addictions”, then Dacus’ fans will surely be in for a treat. Dacus is touring a bit in March and April, but it doesn’t look like there are any Richmond shows on the books right now. You can, however, catch her in Charlottesville at The Southern on March 7.

And be sure to keep an eye on RVA Mag for an upcoming interview with Dacus on her new album. 

 

Camp Howard Premiere New Tracks in Audiotree Session

Amy David | January 22, 2018

Topics: Audiotree, Camp Howard, Egghunt Records, indie, richmond music, RVA bands

Richmond’s upbeat indie quartet Camp Howard has been super busy recently with a tour in December, promoting their latest EP, Juice, which dropped this spring via Egghunt Records. And this month, they stopped in at Chicago-based music company Audiotree, best known for their in-studio live concert series, to play a couple of tracks we know as well as record a few surprise songs.

The guys played six songs over their session, including “Mismo”, which is in Spanish, “Haircut”, “Juice” and “I Will” off their newest EP, along with two new songs, the dreamy “Light on the Moon” and “Placid”.

If you’re into some catchy light-hearted pop and some groovy bass lines you’ll enjoy their latest album and the two newer tracks deliver some fun and laid back sounds that will keep you wanting more. We had a chance to catch up with Camp Howard about their Juice EP in our Summer 2017 print issue, which you can check out here.

You can catch Camp Howard’s next performance at Strange Matter on Mon., Jan. 29 along with The Nude Party and Piranha Rama. 8 PM, $10 cover. You can snag your tickets here.

RVA #30: Record Reviews

RVA Staff | November 28, 2017

Topics: Ant The Symbol, Big Baby, Blush Face, DJ Harrison, Egghunt Records, FM Skyline, McKinley Dixon, Minor Poet, Nickelus F, Night Idea, Pete Curry, rva music, Sammi Lanzetta, Stones Throw Records, The Wimps, VV

Originally printed in RVA #30 FALL 2017, you can check out the issue HERE or pick it up around Richmond now. 

Ant The Symbol x Nickelus F

Fury 

Local producer Ant The Symbol releases this “unofficial” project featuring isolated rhymes from one of Richmond’s most celebrated rappers. Ambitious and bold, the production is a sound to behold, but even though Nickelus F’s contribution is unintentional, it still dominates this release with memorable rhymes and jaw-dropping sequences, showing off the same power and swagger that’s led him to dominate the local scene for so long. All in all, one wonders just how strong an “official” collaboration might sound. (DN)

Big Baby
Sour Patch EP 
(Egghunt Records)

There might not be another release from this year that feels as cathartic and triumphant as Big Baby’s Sour Patch. Five songs that transform pop wonders into a sensibility for allowing depression to take over in order to overcome. The trio impresses with a full sound that never falters and it’s easy to see why with dynamic passages like “Lemons” and “Everybody.” Though brief in runtime, this rivals much of the strongest local releases of 2017. (SC)

Blush Face

What Do You Want? 

Despite the prowess of singer Allie Smith and her talented band, it’s the sparser moments of Blush Face’s debut that seems to show off their shine and promise. That’s not to say the more upbeat, jangle, or rocking moments on the record aren’t to be enjoyed – “Eat My Blues” is a winner in any decade – but it’s the sparser ones where you can feel the real impact of their musical worth, as they hone in on the exact notes, progressions, and words needed to make something special. (DN)

DJ Harrison

HazyMoods 

Clocking in at just 26 minutes, HazyMoods goes by in a flash, but the effects of Devonne Harris’ debut release for Stones Throw linger in the air long after the album stops spinning. Newcomers to the respected RVA collaborator’s solo work will get a sense for his keen ear — how he can blend disparate sounds, often from his own storied output as a producer and multi-instrumentalist, and make a cohesive musical moment. Harris’ analog instincts shine through, and the result is as groovy as it gets. (DJ)

Felitos

Don’t Stress It 

This New Kent MC’s seamless and heavy flow is sure to be a hit in the local hip-hop scene, especially with his numerous references to the struggle of the grind in a young rapper’s life that any struggling youth could relate to. The production is poppy and airy at times, giving Felitos the power to weigh down songs with his own lyrical power, something he does often throughout this inspiring release, often to stunning results. (DN)

FM Skyline

Deluxe Memory Suite ™ 

A side project from the prolific local musician Pete Curry, this bright and fun instrumental release solidifies Curry’s place as one of Richmond’s more intriguing musicians. Vaporwave meets chillwave meets synthpop, there’s still plenty of Curry’s own jangle charm to be found in the music, even if it’s buried under the many impressive layers each song offers. If you need a starting point, there’s nothing more glorious than listening to “Sunset Cruise” on your Friday evening commute. (DN)

McKinley Dixon
Who Taught You To Hate Yourself? 
(Wadada Records)

McKinley Dixon is the promise of where music is heading. On his debut, recently re-released, topics like imbalance, nepotism, anxiety, sacrifice, enlightenment, and death all come into play. This record isn’t just waxing poetically about the realities people face on a daily basis. It’s a reaction to the world that many have lived in for generations, and the tensions that go with it. It’s a wake-up call and the wordplay of Dixon is the beacon of distress that will hopefully unite the Richmond community to move forward into a progressive future. (SC)

Minor Poet
And How! 
(Egghunt Records)

Crafted in solitude while another project was stalling, And How! shows how creative honesty and love for the recording process can combine to make something truly special. Lyrics to songs like “River Days” and “Sudoku, An Enlightenment” depict and elevate idleness in such a fascinating way — one that could be seen as ironic, given the ambitious vocal and instrumental layering (heads up, Brian Wilson fans) and the fact that the album has kicked the former Max Extras frontman’s career into a higher gear. (DJ)

Night Idea
Riverless 

Lush, dense, and wildly daring, Riverless is a fascination display of Night Idea’s talent and vision, one that’s as vibrant as it is scattered. The way they follow each musical thought is inspiring at times, something most musicians would shy away from at the risk of unbinding their music. But Night Idea is not most musicians, and not only do they embrace these little journeys and detours, they somehow make them all connected, unlike the river-less world they highlight. (DN)

Sammi Lanzetta
For Avery 
6131 Records

Rage and poise that is fleeting by nature, but still highly memorable. The former Venus Guytrap member proves she is a musical force to be reckoned with thanks to dense lyrical songs that journey the complicated emotions of her mind and soul. Bold statements like “Circle” will ring in your head for weeks, but it’s the sweet advice of “For Avery” and the introspective realizations of “Anxiety Olympics” that cement this as a truly remarkable release from one of Richmond’s brightest rising stars. (DN)

The Wimps
Reel Whirl 

The Wimps are quickly accelerating towards becoming one of Richmond’s all-time favorites. Their second full-length feels like another dimension of sound that is charming, quick, witty, and bountiful on every listen. As their origins might lead you to believe, they might have been birthed from the garage. Now, they are glistening stalwarts of anxious, dreamy pop that feel as vintage as they do contemporary. Reel Whirl is an ephemeral example of how far pop has come in town. (SC)

VV

Don’t Look At Me 

There are many that consider VV to be the best band in Richmond and this release is a strong testament as to why. It plays out like an all-out assault of spooky punk fit with haunting grunge that feels like a reckoned passage of nightmarish horror. As screams and laughter can be heard throughout, frenzied tracks like “Face Smasher” and “Can’t Sleep At Night” are distinct entries into the burgeoning abyss of intensity and harsh realities that surround every song. A treat for all listeners. (SC)

Reviews by: Davy Jones, Doug Nunnally, and Shannon Cleary

 

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