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More Richmond Music Catalog 1980-2021 Part 6

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There’s so much. So much more than even I knew when we started this whole process. I keep sending myself emails in the middle of the night with one or two more bands to add. We’re looking at going at least nine installments for this series at this point. Luckily for you, we’re parceling them out at a rate of about one a week, so that you aren’t completely overwhelmed (and more importantly, neither am I). Indeed, this one right here took over a week to finish. That’s the way the ball bounces sometimes. Anyway, here’s our next batch of artists with names between E and J in the alphabet. Enjoy! –Marilyn Drew Necci

Enforced, “Malignance,” Kill Grid
2021 Century Media Records

When a raw, passionate band moves to a bigger label, I always get a bit nervous. So I’d be lying if I said I wasn’t feeling a bit of trepidation as I waited to hear which direction the band would go on their sophomore platter. Would the big label treatment result in a polished sheen, or would the band dare to dial the violence up a few notches?

According to Enforced, that’s not an either/or question, because sophomore album Kill Grid is simultaneously heavier and more polished than its predecessor. While comparisons to Power Trip and High Command are still valid, Enforced occasionally careens their hardcore thrash sound into the more extreme territory of the crossover spectrum, where outfits like Black Breath and Plague Years reside. Heavily influenced by the riffing and chaotic lead styles of Demolition Hammer, Slayer, and Sepultura, Enforced guitarists Will Wagstaff and Zach Monahan spend the vast majority of Kill Grid blowing my fucking mind with their powerful performances. Single “Malignance” demonstrates just about every tactic that the band employs in a four-and-a-half-minute package. The speed, the groove, the squeals, it’s all there, and when coupled with the monstrous hardcore shouts of vocalist Knox Colby, the results are positively lethal. –from Angry Metal Guy

The Ernies, “Here And Now,” Meson Rey
1999 Mojo Records

Mojo Records has a winner with the The Ernies (what a great name for a band!) and their release, “Meson Rey.” This band combines heavy metal, rap and jazz –  with the emphasis on the metal – for a highly unusual sound that is explosive and most infectious. 

It took me a few spins to get into the groove, but now I am really into this band. The music is energetic, loud and full of life. The words are deep and loaded with thoughtful messages throughout. The band is tight and likes to play and it shows in a big way. The saxophones of Hayes Smith give the band a strange, funky sound that is kind of cool. 

I can just bet these dudes put on one bitchin’ live show. Hey, guys, when you’re in L.A. give us a call! –from Rough Edge

Everyone Dies In The End, “Don’t Forget To Breathe,” The Space Between Spaces
2017 Stillwater Recordings

An instrumental quartet with song titles as long and complex as the songs they refer to, Everyone Dies In The End are the sort of band for which the classification “post-rock” was originally coined. Despite their use of the same instrumental configuration with which this band’s members have previously formed hardcore and metal bands, this band forgoes the verses and choruses that have been the essential basis for pop songwriting for half a century now. Instead, they spend extended periods of time constructing atmospheres through ambient effects and repeating rhythms that slowly pick up steam, like boulders rolling downhill. Eventually, of course, those boulders have to crash to earth, and these moments become the loud and powerful crescendos that dot the landscape of All Things Lead To This, the group’s 5-song debut album. –from RVA Magazine, March 14, 2014

The Exploder, “Ceremony For A Fat Lip,” This Sound Starts Right Now
1997 Reptilian Records

Nobody’s written anything worth a damn about this band anywhere on the internet, so here, let me tell you what’s up. The Exploder was what a few West End pop-punk kids — specifically Jesse Lyell and Dan Evans from Pre-Skool and Jedd Wilcox from The Nuns (no, not the famous Cali Nuns, the anonymous early-90s Richmond Nuns) — did once they got a little older and started stretching their creative boundaries a bit. There were a bunch of chaotic hardcore bands in Richmond at the time, playing the sort of music that would be called “screamo” a few years later (Four Hundred Years, Sleepytime Trio, etc), and The Exploder fit right in with that scene. Their live sets were intense freakouts, and they were lucky enough to capture both their energy and their songwriting talent on their lone LP, from which the above track is taken, as well as follow-up EP West End Kids Crusade, before they broke up right around the turn of the millennium. –MDN

Falls Under April, “44491,” Falls Under April
2001 Self-released

Another lesser-known Richmond band who, again, probably would have gotten tagged “screamo” a few years later. This quartet was from Powhatan County back when that was less the outer suburbs and more the straight-up country. My band played with them at a house show a high-schooler booked in their parents’ basement out in Woodlake or somewhere and I was blown away. I figured these random country high school kids had somehow gotten into some pretty heavy bands, but it turned out they’d never heard any of the bands I thought they sounded like. They just managed to make some really sincere, energetic music in isolation that turned out to be some of the best stuff happening in this city in the first few years of the 21st century. Members grew up and went on to bands like Race The Sun, Mouthbreather, and Sea Of Storms, but this track captures them in the first blush of youth. Perfect. –MDN

Fat Spirit (fka Heavy Midgets), “House Of Cats,” Super King
2013 Self-released

it’s a pretty amazing preview of the new Heavy Midgets LP, Super King, which the band just recently recorded and is set to come out… well, sometime soon. We’ll admit the sound isn’t perfect, but for a live recording it does a pretty great job of capturing every instrument working in tandem–and producing what just might be the best Heavy Midgets jam yet. With guitarist Charlanne McCarthy on lead vocals, the song has a pleasing melody that mixes well with guitarist Ian McQuary’s catchy lead lines. John Graham (bass) and Bren Hall (drums) are the motor that drives the song, which is uptempo without being frantic, and seems like it should definitely get kids dancing. –from RVA Magazine, November 6, 2013

Fatty Love, “Double A,” Fatty Love
1994 Tenderizer Records

Short-lived project band featuring John Partin and Chris Wade of Hose.Got.Cable teaming up with Mark Morton and John Campbell of Lamb Of God back when all of them were young Richmond musicians nobody had ever heard of yet. A heavy-rockin’ band that was here and gone so quickly that this EP is all they left behind. Still worth remembering, though –MDN

Field Day, “Barbie With Gun,” Christian Television
2010 Rorschach Records

Field Day’s debut 7″, Christian Television is a three-song spate of lurching but easy-going math rock not far from the likes of Ghosts and Vodka or a less tense June of 44. Though “The Fast” and “And Bi-Curious” (I get it!) are succinct spit-takes of restrained, head-swaying motion, four-minute-plus closer “Barbie with Gun” allows the band’s dynamic rhythms and changes to stretch with more space. The guitars play off each other well in this one, driving into long fits of Built to Spill-esque distortion and off-key pulls towards the bridge and finish. It’s familiar, but done well. –from PunkNews

Fight Cloud, “Pipe Dream,” We’ll Be Alright
2016 Self-released

Fight Cloud and Houdan The Mystic are preparing for a split release that will drop this fall. The new Fight Cloud song we have for you is not actually slated for inclusion on that split. However, the band has posted a demo recording of a song scheduled for the LP they’re planning to release at some point in the future. And my god, it’s so good we just couldn’t resist sharing it with you. The track is called “Pipe Dream,” it has some amazing dual-guitar melodic interplay as well as a talented vocal turn from singer Justin Stuit, and the band apparently recorded the whole thing live, which is amazing in light of how clear-sounding and tightly played it is. Listen to it below, and get ready around the 2:30 mark for the entire thing to lift off into the stratosphere.

If that’s just the demo version, I can’t imagine how good the final studio recording is going to be. –from RVA Magazine, August 14, 2014 [Note: the demo I wrote this about is no longer online, but the final released version above is equally great. –MDN]

F1NG3RS, “Outta There,” Outta There
2021 Self-released

F1NG3RS is a music producer known for his video game music remixes, mashups, pop culture remixes, parodies and video game inspired original music. F1NG3RS combines elements of retro video game textures, synthwave, funk, hip-hop and EDM into a fresh, but nostalgic sound. –From Bandcamp

Fixtures, “The New Swarm,” Rusted Screws & Machinery Of Man
2011 Self-released

The problem with the internet age is that sometimes smaller bands come and go, and later on, people who were involved decide they’re not really fans of what they used to do, and they go back to all the places it was located online and make it disappear. If you’re someone who thought what they were doing back then was awesome, you’re out of luck. Fortunately, I was able to find this three-song EP by Southside metalcore band Fixtures lurking on Soundcloud. Enjoy it now, on the off chance that it too disappears sometime in the near future. –MDN

Flashbulb Memory, “Not Some Phony Symphony,” Split LP with Joshua Fit For Battle
2000 Revolutionary Audio

Although they were a punk band more than anything, Richmond, Virginia’s FLASHBULB MEMORY seamlessly blended emo, rock, screamo and hardcore into a pretty danceable creation that is certainly worth checking out.

On the split 12″ with Joshua Fit For Battle, opener “Not Some Phony Symphony” begins like Wow, Owls!, Stop It!! and brings in a few other sounds that generally remind me of late 90s emo and dancier screamo. –from Open Mind/Saturated Brain

Flechette, “Ovidian Hurts,” Flechette
2011 Sound Era

…Sound Era, a new Richmond-based record label owned by members of local scene veterans Mouthbreather, have stepped up to fill this gap, putting out Flechette’s self-titled debut LP as their inaugural release. The 45 RPM 12″ slab of vinyl does count as a full-length release, though just barely–its 7 songs last just 24 minutes, and definitely leave the eager listener wanting more. However, what is here is more than worth the price of admission, with the aggressive post-hardcore stomp of the band’s riffing driven to higher levels of energy by obvious residual influences from the time the members have spent playing fast hardcore. Think Drive Like Jehu at their fastest, Sleepytime Trio at their most aggressive, or Quicksand with the energy of Gorilla Biscuits. There are also experimental touches, made most obvious by the between-song noise interludes contributed by Landis Wine of White Laces and John Hawkins of Roy G Biv. This album would have fit right in with the 90s-era chaotic hardcore scene that produced classic recordings by Unwound, Clikatat Ikatowi, and Swing Kids, but it’s just as welcome here today. In fact, it’s just another of the many examples that we are presented with on a daily basis of just how abundantly awesome the Richmond music scene is, and while it can be hard to keep up with everything going on in this town, this is not an album that you can afford to miss. –from RVA Magazine, June 29, 2011

Flight Club, “No Way (Get Real),” Kinda Funny
2017 Self-released

“True Rock. True with no E, Rock with no C – Tru Rok.” This is the sound of Richmond’s Flight Club.

“Tru rok, if I had to say it was one thing it would be Foo Fighters meets Four Year Strong- ‘Foo Year Strong’,” said guitarist Charlie Mahoney when describing the four-piece band’s music. “Cause it has that aggressive bouncy part of it from four years and where it gets a little bit heavier is the Foo Fighters, who’s just a rock and roll band.”

Although the band commented on how they identify as a “tru rok” band, the overall musical style, from the lyrical content to the guitar riffs that make you want to angry finger point and dance the night away, shows that they are a pop-punk band at heart. The bandmates themselves, however, disagree.

“I think honestly if you listen to the music, right now especially, we probably just get coined pop-punk, but we’re really trying to take that in a different direction,” said Mahoney. “Pop-punk is honestly one of my favorite genres, but even now I’m like, ‘okay, give me something new, we get {it}, you broke up in high school, dude. You’re an adult now, so we’re just trying to add a little bit of maturity to that.” –from RVA Magazine, January 26, 2018

Fly Anakin, “Sean Price,” Sean Price (single)
2021 Self-released

Over the summer, Richmond rapper and Mutant Academy leader Fly Anakin self-released the seven-song Pixote via Bandcamp, along with an announcement that he would no longer be using streaming services to share his music. Now, Fly Anakin has shared a brand-new track, “Sean Price,” which is produced by Evidence and is an ode to the late Brooklyn rapper. It’s also the first track from a new solo project from Fly Anakin that will drop next year.

“Sean Price inspired me to stand on what I believe in and say whatever I feel no matter what type of beat it is,” Fly Anakin said of Price, who passed away in 2015, and who was part of groups including Heltah Skeltah and Boot Camp Clik. “His influence put me in the driver’s seat, I grew wings and shit.” –from Stereogum

From Earth To Ashes, “Ache To Believe,” Dark City
2000 Self-released

The generation of hardcore kids who’d grown up in Richmond during the fertile time of the late 90s came of age around the turn of the millennium, which led to a whole bunch of post-hardcore bands coming out in those first few post-Y2K bands, from Richmond people who’d previously been playing music of the much more straight-up variety. From Earth To Ashes saw several veterans of Richmond’s late-90s hardcore scene, alumni of bands like Indypendant and Broken Chains Of Segregation, recruit Dan Evans of The Exploder to add a more melodic vocal touch to their still chugging but more complex tunes. They only released one EP before breaking up, and since my copy — which dates from very early in the CD-R era — has been unplayable for a solid decade, I’m very thankful that Richmond label Ovolr Records reissued this material last year, and we can all hear this stuff once again. –MDN

From Fragile Seeds, “Comfort,” Myth And Ceremony
2015 Self-released

This performance, filmed by Steven and Lily Photography on what appears to be a back porch somewhere in RVA, features From Fragile Seeds’ current four-piece lineup. However, drummer Chris Gregory doubles as a third guitarist–which is fitting, in light of the fact that Myth And Ceremony was recorded during a transitional period in which the band had only three members. Gregory, an accomplished guitarist in his own right, doubled on drums and guitar for the album, and it’s pretty amazing to watch him play his guitar both in conventional fashion and as a percussion instrument during this video.

Myth And Ceremony will be released in CD and digital formats on Tuesday, April 14. Singer/guitarist Andrew Inge, who also produced and engineered the album, described the seven songs on this full-length as “a bit more focused in style” than the band’s previous album. “[On] the last album, we seemed to have trouble deciding what we wanted to be,” he explained. “We’ve gone more in the “post-rock” direction, I guess you could say. I just think it’s a more grown-up and refined version of our old music.” Gregory agreed, saying, “It’s a little less aggressive overall, so therefore, a little more laid-back. At the same time it has a relatively uptempo feel, in a way, so it’s not extremely melancholy or anything.” –from RVA Magazine, March 31, 2015

.gif From God, “Possible Futures In The Minds Of Children,” Approximation of a Human
2019 Prosthetic Records

I’ve been seeing .gif From God play since their earliest basement blasts of metal noise hysteria and while they’ve been amazing from the jump, they only seem to get better as time goes on. Last year’s split EP with Vein saw them taking things to a higher level with longer, more complex songs, but they retained their edge. They’ve continued to incorporate the best elements of metalcore, screamo, spastic grind a la the Locust, and outright horrible noise into a potpourri of entertaining, energetic sounds that are always delivered with maximum hyperactive intensity. –from RVA Magazine, January 17, 2018

Government Warning, “Arrested,” Arrested EP
2007 Grave Mistake Records

Government Warning has always been a “grower” of a band for me. After my first spin of the No Moderation LP I wasn’t that impressed. It took a few months for me to really get into it, same with their first seven inch. With Arrested, there was no growing period necessary. It hooked me faster than Theo Fleury in a pharmacy.

The fact that the title track of the 7″ wasn’t written by Rikk Agnew is astonishing. How did four guys from Richmond manage to capture the exact essence of early `80s Orange County? This song has everything: the “OC” drum beat, the perfectly placed guitar solo, desperate lyrics, a great sing-along chorus, basically the total package. This shit would have fit in perfectly on any Adolescents, D.I., or early TSOL record. Part of me is really hoping they follow this direction more in the future. It is really that great of a song. Crazy Uncle Rikk would be damn proud.

There was a period for awhile where I was burnt out on hardcore and almost gave up on it completely. Government Warning is one of the main reasons why I’m back in with more of a vengeance than ever before. Pick this record up now. –from PunkNews

Graven Image, “Wrong Way To Utopia,” Kicked Out Of The Scene
1984 Eskimo Records

Hardcore punk in the ’80’s was quite the thing to behold. Violent, dangerous, reckless and amazing all at the same time; this was the music of a generation’s revolt against the status quo. It spread virus-like all over the country and Virginia was no exception, spawning their own small scene of dedicated fans and bands willing to build on hardcore’s reputation. Graven Image, led by the charismatic Dwayne Curd was no exception. Touring and recording at a furious pace, the band made themselves one of the highlights of the Virginia hardcore scene. The band didn’t last very long but their reputation has lasted throughout the years by those who were there and who remembered. –from Perfect Sound Forever

Haircut, “Boys Club,” Shutting Down
2017 Feel It Records

Five tracks of furious hardcore punk on the debut EP from Richmond’s HAIRCUT. Originally formed in nearby Charlottesville, VA (and opening countless shows at the legendary Magnolia House), Haircut released a strong demo at the end of 2016 before landing just down I-64 in Richmond. The speed and precision displayed across “Shutting Down” is rarely captured so well on a band’s first record, but the execution on these five tracks (all of which burn through in 60-90 seconds) is hard to match. Just as essential to this release are Juliana’s tireless, outspoken lyrics (both in English + Spanish) and vocal delivery which echoes from a very candid perspective often missing in contemporary punk and hardcore. A standout EP devoid of any gimmickry or trend-worship. Simply pure, classic hardcore punk. –from Grave Mistake

Heartracer, “Darling,” Darling (single)
2020 Self-released

The band’s name, Heartracer, is for Chris’ lifelong condition, Tachycardia, which causes the heart to speed up and slow down at random. Just like his condition, ‘Darling’, as with their other songs, does a fair approximation, with the high emotional starts and crashing comedowns of steering through love. Low key electronica is quickly supplanted by jagged bass.  The perfect illustration of the fragility, yet hopefulness of many relationships, Chris’ vocals are nonetheless anything but shy, while he delivers his lyrics, often of a highly personal nature.

In the music video for ‘Darling’, we see the band in a space that is dimly lit only by magenta and blue bulbs. There appears to be neither walls nor ceiling, and the band, in blazers and sunglasses, are as lost in the track as the listeners, the clip. and the sound of the song itself, harking back to an earlier time, when the focus was on the band and the music, more than the video. –from Essentially Pop

Hewolf, “Iron Survivor Theme,” Iron Survivor 2 Original Motion Picture Soundtrack
2020 Self-released

“Rock, Paper, Scissors, Shoot!” Get ready to rumble, and get ready to listen to Hewolf’s latest album, Iron Survivor 2: The Motion Picture Soundtrack. This movie-less soundtrack needs no visuals to take you on an adventure through the wild world of underground, high-stakes Rock-Paper-Scissors Competitions. Through the eyes of lonely child Danny Laredo, we get to learn about love, lust, and what it really takes to win it all.

Iron Survivor 2 came out on October 30th, and has generated a buzz among Hewolf fans. The album features six tracks that walk listeners through the most poignant moments of the movie (which again, to be clear, doesn’t actually exist). Listen as Danny gains the confidence to compete, take on his most vicious opponents, and then vanquish them all. 

Though the plot puts young Danny in perilous and serious positions, the guys in Hewolf don’t let that get in their heads when writing out his story. Their comedic take on “cock-rock” and the theatrics of metal bring light to the soundtrack, and help entrench us in the fast paced world that Danny strives every day to bury his stake in.

“We’re serious about our instruments, but everything that follows after that is sarcasm,” said Throckmorton. “The three of us are dads so we’re responsible, we’re punctual, we make sure that we get the job done, but we’re also total goofballs.” –from RVA Magazine, January 12, 2021

Hoax Hunters, “Teenage Message,” Dormant
2018 Cherub Records

The lyrical topics on Dormant range from surrealist painting to connecting with people over art objects, and draws a line between his activism and art.

The band expertly mimics the sound of 80s and 90s noise rock and punk, sharing sonic similarities with indie bands like Sebadoh and Royal Trux, or more current bands like Estrogen Highs. The band uses lo-fi recording techniques to give the guitars a chainsaw-esque buzz that also brings the sound in line with early punk and hardcore acts. “Teenage Message”, the first song on the EP, features Ottawa, Ontario-based singer, songwriter and multi instrumentalist Catriona Sturton on harmonica. Sturton was formerly a member of Canadian power pop band Plumtree.

As DIY punk and indie subcultures sink further into media’s long tail, the tendency to create in a bubble has become commonplace; Hoax Hunter’s willingness to engage with political and cultural topics in a meaningful way while still retaining some artistic merit is atypical of Richmond’s DIY subcultures, and sets them apart from much of the local enclave. –from RVA Magazine, July 12, 2018

Hold Tight!, “Our Pets’ Heads Are Falling Off,” Can’t Take This Away
2010 Animal Style Records

Hold Tight! have helped lead a resurgence in Richmond’s basement pop-punk scene. They blend pop-hardcore influences like Kid Dynamite and Lifetime with an almost adolescent “let’s have fun and make as many friends as possible because that’s what this is all about” view of music, informed by a deep commitment to the stylings of bands like Blink-182 and Green Day. Fast, loud, and fun, this band is one of Richmond’s best. –from RVA Magazine, September 20, 2011

Hose.Got.Cable, “Chevy Chase Motherfucker,” Antidisestablishmentarianismesque
1994 Tenderizer Records

Sometimes lumped in as a proto-mathcore band, Hose.Got.Cable were responsible for bringing new types of rhythms into punk. On their retrospective disc, Discography 1992-1995, the group collects their first 7”, their Doubt 7”, their LP, and some tracks from compilations. Throughout the disc is a blatant disregard for standard song structure, which surely is as refreshing now as it was in the mid-`90s. Sometimes the band ends a song at a seemingly early juncture, leaving your ears about three seconds past the track change. And sometimes one wonders, why didn’t the band end a particular song 40 seconds or so earlier. But, this isn’t a bad thing. To the contrary, these strange configurations allow contemplations such as “why did they do that here” or “I think this song could have had three times as many sections!” These puzzles, which were definitely created from deft skill and a highly attuned ear, afford the discography multiple listens with each spin adding new questions.

Sure, these guys could make one heck of a racket. When they smash it up, boy, do they smash up! But then again, so can a thousands other bands. Where Hose.Got.Cable truly excels is their ability to back off at just the right time, and sometimes seemingly just the wrong time, and let smoother and gentler sounds take over. But these smooth passages are even more dangerous than their nasty ones, because it’s unclear just when they will strike back with a pummeling onslaught of highly technical, but sloppy, thrashing guitar and screaming. –from PunkNews

The Hot Seats, “Peaches,” Feel
2012 Self-released

Hot on the heels of their live album recorded at a coffee shop in Ashland Virginia last year here’s a new studio album from The Hot Seats. They unveiled several of the songs and tunes on the album when they played here in May and anyone who knows the band will know what to expect here. That’s not to say that they are repeating themselves or going through the motions. Rather it’s another opportunity to marvel at their musical dexterity and to revel in their essential mixture of reverence and goofiness. Driving string driven workouts such as No Plans and Here To Get My Baby Out of Jail swing like hell and allow for plenty of inspired fiddle, banjo and guitar licks while the instrumental interludes (Rattletrap, Mineola Rag, Beasties In The Sugar, Hell and Scissors) almost inspire one to start a barn dance in front of the old desk. While the sheer vim and vigour of this whirlwind of plucking and picking makes The Hot Seats a must see live attraction their more restrained jug band side excels on the recorded medium. The rather risqué Peaches (unofficially accorded the title of the top song of the Shetland Folk Festival they recently played) allows Josh Bearman to fully wallow in the potential lasciviousness of this entendre laden ditty while the band slink along with a devilish mischievousness. –from Blabber n’ Smoke

Houdan The Mystic, “Chasing The Strobe,” Archer’s Jamboree
2012 Self-released

Swirling eerie sevenths open, taking you somewhere into a vortex… deeper… deeper… then, BAM! You are smacked in the face with a spastic explosion of strings and beats, which quickly shapes itself into a thoughtful head-bobbin’ jam. This is the opening track of Houdan The Mystic’s first release, Archer’s Jamboree. The Richmond band, which contains two of the members of Night Idea, has been making waves around town since their formation. Their tasteful and extremely tight blend of experimental-technical-melodic rock, heartfelt lyrics, and large beards puts them into a category they can truly call their own.

It’s always great to hear music that both sounds like nothing ever created before, and avoids being bad. I like bands that accomplish this feat even more if they hail from my hometown. Archer’s Jamboree, which was recorded and mastered by friends for under $50, lands on the sonic spectrum somewhere between American Football and Tera Melos. Being a three piece, Houdan The Mystic relies heavily on the melodic bass and intricate guitar and drum work to fill out the sound.

The album manages to pull off a fun and oftentimes humorous vibe, while remaining equally mature and sincere. Tracks like “Chasing The Strobe” start with complicated, proggy jams, but smoothly work their way into catchy as hell loops, which can get stuck in your head for damn weeks–trust me. –from RVA Magazine, April 3, 2012

Illa Styles, “Long As The Villian Wins,” A Quarter Til A Mil
2019 Self-released

With a gritty sound and life instruction manual-style lyrics, A Quarter Til A Mil finds Illa Styles rapping over high-energy jazz and carefully-crafted production from Michael Millions, with skits and features as versatile and well-made as the album itself.

Styles isn’t new to the game. Much like a carpenter goes to trade school to learn their craft, he graduated from the school of hard knocks in order to create this new record. It’s a refreshing guide to navigating street life while maintaining personal growth, and even when it comes to the dirty details, Styles doesn’t shy away. If anything, it is through his transparency that he finds his power.

“I am not glorifying this,” Styles said. “I am just documenting things that went down during the course of my time here.” —from RVA Magazine, December 9, 2019

Immortal Avenger, “Sound The Alarm,” Sound The Alarm
2006 Self-released

Old School Metal from Richmond, Virginia’s very own Immortal Avenger! This 5-song EP is the bands` much anticipated follow up to “Valor and Justice”, and while that was a fine effort, “Sound The Alarm” is leagues above it in every respect! On this one, the band manages to retain the classic Metal sound that has always been their stock-in-trade; think early Lizzy Borden, Mercyful Fate, Maiden. In fact, this EP even has echos of “Wheels Of Steel”-era Saxon, particularly the vocals of Johnny Throckmorton. It all kicks off with the rousing title track, and a finer opening salvo could not have been chosen! [haven`t yet had the pleasure of seeing the lads live, but I hope they start off their shows with this song; if not, they SHOULD!]

The whole EP displays all of Immortal Avenger`s best qualities; killer riffs, melodic solos, clever time changes, tighter-than-a-ducks-ass rhythms and hummable choruses. Nope, it definitely does NOT get any better than this. –from West Side Dave

Jack Rose, “Cathedral Et Chartres,” Kensington Blues
2005 VHF Records

Kensington Blues is derivative and at the same time nearly brilliant. The styles Rose employs are diverse: twelve-string virtuoso shows, a slide guitar that alludes as much to the sitar as to the blues, solid traditional Takoma ragtime and folk. Out from latter comes a Fahey cover, “Sunflower River Blues”, which (not surprisingly) works as the soil from which the rest of the record grows. The original was predicated on Fahey’s impeccable timing; Rose’s take amplifies the feeling and melody, and then runs with it. Hence the stunning “Kensington Blues”, a song full of clarity and syncopation, elegant and well composed. Two others, “Rappahanock River Rag” and “Flirtin’ with the Undertaker”, are less weighty, more jaunty deliveries of Rose’s signature modern ragtime.

But Rose is more than a traditionalist, and the other tracks on Kensington Blues veer sharply into newer territory. “Cathedral et Chartres” uses twelve strings to abstract the melodic clarity so abundant elsewhere on the record, speeding it up and then sending it into a droning, buzzing finale. This idea is fully worked out in his closer, “Calais to Dover”, in which Rose transfigures the raga into a kind of Dream Music, deep listening project, vibrating his way past individual notes and sequences and arriving at something more akin to pure tone and texture. The minimalist affinity is no coincidence: Rose’s folk is not the least bit free, even as he explores freak sonic terrain, and control is his technique, no matter how many notes he stacks. —from Pitchfork

Jazz Poets Society, “Aboriginals,” Poets Lounge The Show
1998 5th Child Records

A phenomenal blend of jazz, spoken word, and hip-hop, Jazz Poets Society dazzled and titillated minds in a short time. Unfortunately the group is so underground that either you’ve heard of them or you never will. Personally, it was a good few years before I was able to finally safeguard a copy of their Poets Lounge; a CD so good and rare that you wish you could take over a radio station and play it for all to hear. Or, maybe invest one’s own funds to get it widely distributed and promoted like it should have been originally. Alas, those without it will be left to the same 5 songs on the radio and the most sincere sympathy of audibly weary everywhere. –from Amazon

Jeremy D. Simmons, “This Time,” Pie In The Sky
2015 Low Blow

Jeremy D. Simmons is one of the strongest musicians in town. On his debut solo album, he evokes a sonic piecemeal of sorts and the results are stellar. Pie In The Sky is the result of years crafting a musical identity beyond reimagining of influence. Simmons stands out as a unique voice in a city with a wealth of them. –from RVA Magazine, December 1, 2015

Jettison Charlie, “Hitchhiking To Budapest,” Hitchhiking To Budapest
1994 Turn Of the Century Records

Richmond’s Jettison Charlie comes up with some infectious bass grooves and serious slammin’ riffs on their latest release. The music stomps, makes me want to rev up a 78 Ford and tear up and down Franklin County runnin’ shine. However, Bob Massey’s voice sounds at times like he’s gargling with kerosene. Chris Adler lays down some really impressive thump on songs “Rusty Nails,” and the title track. Hitchhiking to Budapest has the power to make it all the way to Everest (or at least from Powhatan to 2nd & Grace). —from Throttle

Joe Threat, “Attic Addict,” Sinister Circus
2013 Self-released

I’ve heard about Threat for quite some time in RVA and have kept up with him and his website and see the random posts about hip hop and crazy stories he has for people, but this album really defined him in a way that I wasn’t expecting from him. The production is crazy, and Threat lyrically brings his A-game. As you press play, he starts the mixtape on a very somber note with tracks like “Conflict Within,” where he talks about the conflict he feels dealing with trying to be accepted. My face twisted as the drum pattern of “Drop The Beat” played through my headset. The 808s thumped on this hype party track, which is produced by Photosynthesizers’ own Dr. Data. Throughout the mixtape, you hear production from Fan Ran and many other local producers, which in my eyes made this a classic, and could possibly catapult Threat’s buzz in RVA. —from RVA Magazine, August 9, 2013

That’s it for this installment of the Richmond Music Catalog. Check out Part 1, Part 2, Part 3, Part 4, and Part 5 if you haven’t already. We’ll be back next week with Part 7. Stay tuned.

RVA Shows You Must See This Week: December 1 – December 7

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FEATURED SHOW
Saturday, December 4, 7 PM
Colin Phils, Houdan The Mystic, The Late Virginia Summers, Shapes In The Water @ Black Iris – $6 (order tickets HERE)
It sure is nice to see local music surviving and thriving in our post(?)-pandemic world. Live music shutting down completely for a year caused a lot of chaos for a lot of bands in this world, and while huge artists like Radiohead or Green Day or whoever could just live off all the money they’ve banked, a lot of times the loss of steady work for smaller bands led to breakups and indefinite hiatuses proliferating across the scene. Therefore, we can all be thankful that a quartet of veteran Virginia indie bands will be returning to form and bringing us all the sounds we love this Saturday night at Black Iris.

Colin Phils in particular was dealt a cruel blow by the pandemic; having released their latest LP, Trust Fall, at almost exactly the same time as the first big COVID shutdown hit us all back in March 2020, they were robbed the opportunity to travel around the country and the world showing off their latest work to both fans and new listeners. Since things came back online, they’ve been making up for lost time, touring around the East Coast and appearing live in a variety of places. And, by the way, with a variety of lineups. The photo accompanying this article documents the band’s lineup at the time Trust Fall was released, but I really can’t say for sure who (besides band mainstays Ben Tiner and Benjamin Mauch) will take the stage Saturday night. Rest assured, they’ll deliver you an unforgettable performance of some top-quality indie/math-rock/emo tunes regardless.

Colin Phils isn’t the only band making this Black Iris show worth your time, though; there’s also their former split partners Houdan The Mystic, a long-running local trio whose smooth, intricate math-rock sounds have been fascinating for screamo nerds, stoner indie heads, and everyone in-between for damn near a decade now. They may not have released anything since their aforementioned 2017 split with Colin Phils, but they just don’t like to rush. Rest assured, their music will still be right on time. The Late Virginia Summers, who hail from Lynchburg, have been enriching the VA indie scene with their synth-infused take on instrumental post-rock for over a decade now, and demonstrate that they’ve still got a lot to say on brand new release Beauty In The Ghost; expect them to show off some tunes from the new record on this night. Finally, Shapes In The Water released their debut LP only two years ago, but 3/4 of the band have a significantly longer history under the name From Fragile Seeds, and their new EP, Acedia, shows that their brand of intricate, post-rockified emo remains vital and is, if anything, getting better all the time.

Wednesday, December 1, 8 PM
The Octavias, Safari Room, Colpa Mia @ The Camel – $8 in advance, $10 day of show (order tickets HERE)
A lot has happened for a lot of Richmond bands while the pandemic had us all holed up in our rooms. One example is the duo formerly known as Grem Smiley, who — like Colin Phils — released a record only weeks before the pandemic made live music a thing of the past for over a year. After their Canvas LP lost its chance to soar, the band went into a long woodshedding period that saw their former name go by the wayside in favor of the (indisputably improved) name The Octavias. They’ve only released two songs under that name so far, but the rollicking rock n’ roll bash that they unleash on debut single “Sometimes” is certainly enough to whet one’s appetite for a full set from these rippers.

That’s what we’ll get at The Camel tonight, but it’s not all we’ll get; Nashville’s Safari Room are coming through town as well, and their more melodic approach is sure to act as an intriguing contrast to the rave-ups of The Octavias. Apparently people have compared them to all sorts of groups in the past, and most of those comparisons seem way off to me, so let me avoid that pitfall and just tell you that their delicate, arpeggiated guitar lines and soaring vocal melodies occasionally give way to powerful crescendos that make the whole thing feel ecstatic. Locals Colpa Mia will be rounding out the bill with their catchy indie pop tunes, so you’ll get a solid dose of excellence from this one. Get with it.

Thursday, December 2, 7 PM
Lenne, The Impurity @ Another Round Bar And Grill – Free!
Over the past few years, Another Round has made itself the indisputable local home of unreconstructed metal, untainted by hipsters and retaining its pure original state — as raging music for frustrated working class headbangers. And don’t get me wrong, the hipster stuff has its place, but sometimes its nice not to have to try and pick up on the influences of bands who worship an obscure death metal demo released in 1987 by a band from Argentina who never toured and were only together for six months, or whatever. When Lenne and The Impurity play a free show at Another Round this Thursday night, you won’t have to worry about any of that.

Instead, what you’ll need to know is that Lenne is a project featuring members of Sevendust and The Infinite Staircase, among others, dealing out some heavy rockin’ metal with a strong blues influence. The melodic vocals follow in a similar vein to the band members’ previous projects, but rest assured, the whole thing still hits hard as hell. Tourmates The Impurity, who hail from Buffalo, NY, have a similar sound, but are definitely willing to do some growling and screaming at times. All of it’s gonna bowl you over, and if you want to bang your head, you’ll have plenty of opportunities. Plus, the price is right. Make it happen.

Friday, December 3, 9 PM
Smirk, Hard Copy, Magic Wand @ Fuzzy Cactus – $10 in advance, $12 day of show (order tickets HERE)
This Friday night, Fuzzy Cactus will bring you a heaping helping of the exact kind of sounds you expect from this town’s proudest “rock n’ roll bar”: some raw, primitive, quirky garage rock. Smirk is a California band that’s actually a one-man project by Nick Vicario, whose name you may know if you’re nerdy enough to be aware of groups like Crisis Man and Public Eye. Richmond’s own Feel It Records handled the release of Smirk’s LP, a vinyl release from earlier this year that combined both of the project’s earlier cassette releases. Only a couple of months ago, Smirk followed up this release with a new one entitled EP (I sense a theme here), featuring seven new songs that are pretty much all off-kilter basement pop gems.

So yeah, you’ll definitely want to catch Smirk when they come through town dispensing their offbeat anthems, even if I can’t actually tell you what form they’ll take live — a pickup backing band? One guy doing everything? Prominent use of drum machines? I have no idea, but it’s worth finding out! The music’s sure to be fun regardless. Along for the ride on this one are Hard Copy, a quartet with a postpunk vibe and snarky political lyrics featuring members of Fat Spirit, New Turks, and Young Adult Fiction, among others. Their EP from this spring is a lot of fun; one would think this set would be too. Fun local punks Magic Wand will round out a bill full of great tunes at the most rock n’ roll bar in town.

Saturday, December 4, 6 PM
Holy Roller, Devil’s Coattails, Cassidy Snider & The Wranglers @ Fuzzy Cactus – $10 (order tickets HERE)
OK, so I just told you all about how rock n’ roll Fuzzy Cactus is in the last blurb, but never let it be said that they’re afraid to throw the occasional change-up. That’s what comes from this show starring headliners Holy Roller, who originally evolved out of Virginia quartet Big Mama Shakes a few years back. These days, Holy Roller have expanded to a six-piece, which pairs vocalist Brady Heck’s deep, soulful baritone with the unmistakable voice of talented Richmond singer-songwriter Rebekah Rafferty. The result, combined with the band’s Southern-rock tinges and subtle gospel flavorings, is a sound that fans of everything from Matthew E. White to Drive-By Truckers to Counting Crows should be able to appreciate.

Devil’s Coattails are also on the bill, and this ensemble goes even further outside the typical confines of “rock n’ roll” with their take on rootsy country sounds. Featuring members of The Dharma Bombs, Blush Face, the Pistol Sisters, and more, this six-piece — featuring two vocalists with some great interplay — lay down the kind of honky-tonk sounds you just can’t find in the world of mainstream country anymore. Plus, it’s got that freewheeling outlaw spirit. So in the end, it’s actually perfect for Fuzzy Cactus. As is Cassidy Snider, a homegrown blues singer with a soulful country vibe, who’ll be bringing her band The Wranglers along to kick this one off in fine fashion. So hey, make it a Fuzzy Cactus weekend, and on Saturday night, you’ll get to catch both kinds of music — country AND western.

Sunday, December 5, 7 PM
Nickelus F, Radio B, Michael Millions, NameBrand @ The Broadberry – $20 in advance, $25 day of show (order tickets HERE)
Do the talented MCs and producers who make up the crew known as Association of Great Minds even need any sort of introduction anymore? At least here in Richmond, I would hope not. However, I’ve got a couple of paragraphs to fill, so we’re gonna go ahead and talk about the greatness of the four men bringing the latest edition of their “Flag On The Moon” to The Broadberry this Sunday night. Nickelus F is probably the first among equals here, as he’s been making his name with top-level rhymes and excellent beats for something like 15 years now. His last big high-profile release, Stuck, came out on Vinyl Conflict back in 2018, but he’s still making great tunes — and probably hoarding at least some of them away from public eyes, as was true of the two Gold Mine compilations he released in 2019. Here’s the thing — it’s all great. And whatever he does onstage Sunday night, whether it’s a Nick F classic or some shit you’ve never heard before, it’s going to be top-quality and unmissable. So don’t blow it.

Let me not take anything away from Radio B, though. Out of all of these artists, he’s the one who put out a new full-length most recently, with his fall 2020 release All Art Ain’t Pretty — a record with a cinematic approach and philosophical lyrics that are clearly influenced by the Black Lives Matter movement and the protests that took place in Richmond last year. Hearing these songs live will be worth the price of admission to this event on its own, so make sure you’re there. And of course, you’re gonna want to be on time, as Michael Millions and NameBrand, who are actually brothers as well as artists in their own right, will be performing as well. Michael’s last major project, Hard To Be King, is still blowing my mind damn near four years later (calling it now: I’m gonna be jamming “Blacksugar” on a regular basis for the rest of my damn life). As for NameBrand, his 2019 EP Grace is a soulful collection of instrumentals that makes a perfect soundtrack for those afternoons when you’re doing some deep thinking — and whatever he lays down at this show will surely do a great job of bringing you into the mindset AGM are out to create. Tap in.

Monday, December 6, 6:30 PM
Can’t Swim, Fanfare, Frames, Drop The Girl @ The Canal Club – $15 in advance, $18 day of show (order tickets HERE)
I know how it goes; after a weekend of live musical awesomeness, it can be difficult to keep the energy up for heading back out on Monday night. But you sleep on Can’t Swim at your own peril; this emotional rock band from New Jersey bring both melody and power to the equation that creates their brand new third LP, Change Of Plans. The result isn’t easily slotted into one genre or another, but you can hear all kinds of awesome things happening on it: chunky hardcore, melodic emo, pensive indie, driving rock, and even a tiny dose of metal cropping up at certain points.

The result is awesome on record, and it’s sure to be equally so in the live environment. So don’t miss out on this set — and don’t miss out on the trio of Richmond-based openers, all of whom have their own brand of catchy tuneage to present. Fanfare get downright pop-punky at times, but there’s some grit under there to keep things from getting too pretty or anything. As far as Frames goes, when you hear the name you might think of the band led by the Scottish guy from the movie Once, but that’s THE Frames. This Richmond band brings a heart-on-sleeve approach full of melody and yearning emotion, as documented very well on their 2019 EP Cursed. What have they got going on in these post-pandemic days? You’ll have to show up to find out. And openers Drop The Girl are a couple of charmingly goofy boys from Gloucester whose big pop-punk EP, Happy Again, was another March 2020 release that got totally outshined by the pandemic. Which is sad, because these guys are not just great fun, but actually great. Show up early and catch em all, Pokemon-style.

Tuesday, December 7, 7 PM
Wingtips, S Y Z Y G Y X, Jaguardini @ Fallout – $10 in advance, $15 at the door (order tickets HERE)
It’s Tuesday night at Fallout, so just like any other night at Fallout, the plan is to get gothed-up, wear tons of black, and dance all night to some wonderfully moody sounds. This time around, those moody tunes will be provided primarily by Wingtips, a band whose name is probably not supposed to make me think of shoes, but, well, there you are. Upon first listen to their new LP, Cutting Room Floor, and you’ll be thinking that a more appropriate name for them would have been “Black 20-hole Docs,” but the deeper you dig, the more you’ll find the heart of a dance-pop band beating within the atmosphere Wingtips creates.

I must say, I feel like Wingtips would have been just as happy opening for the Pet Shop Boys in 1985 as they would have been opening for Sisters Of Mercy in 1990, and if you’re the type of person who’d have been happy to be in the crowd at both of those shows (I am), you’ll definitely dig what Wingtips are doing. And you will dance. Oh yes… you will dance. Washington DC’s S Y Z Y G Y X (no, I don’t know how you pronounce it) has a more definitively dark, cold mood at work in their music, which adds a perfect contrast to the sound of the evening. And Harrisonburg dark-waves Jaguardini will get things kicked off with an infusion of cold synth grandeur. Perfect.

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Email me if you’ve got any tips for me about upcoming shows (that take place after the week this column covers -– this week’s column has obviously already been written): [email protected]

Top Photo: Colin Phils by Andre Mags Photography

VA’s Can’t-See Shows This Week: March 18 – March 24

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Hey there, folks, it’s that time of the week when we normally let you know all the best goings-on in the live music scene here in Richmond and around the state for the next week! As you may have realized, though, the current COVID-19 outbreak and the many social and legal restrictions placed on large gatherings have almost entirely shut down the live music scene here in Virginia. There may be a few things still going on, but we wouldn’t feel very responsible advocating for you to go see them. What’s a show-loving girl to do?

Well, for this week’s column, I decided to have compassion for those of you who have either joined me in the wonderful world of working at home (welcome to the club — isn’t it fun doing your job in your pajamas?) or, more unfortunately, found yourselves without any work while your place of business is temporarily shut down. I may not be able to send you to any clubs to see awesome bands light up your evening with their killer sounds… but I can offer you ten great performances by Richmond bands, all available for your viewing pleasure right here on the internet. You can space them out one (or two) per day as with the usual column, or binge them all tonight — the choice is yours! Crank the volume on your headphones for this one.

Lamb Of God at Hellfest Open Air, Clisson, France, June 23, 2019

We’ll start with what we all certainly hope is a preview of coming attractions — a full set by Lamb Of God, complete with multiple cameras and top-quality audio. Richmond’s veteran metal faves are planning as of now to release their latest LP, Lamb Of God, on May 8, and follow it up with a full US tour, featuring June dates at Jiffy Lube Live in NoVA and Veterans United Amphitheater in Virginia Beach. Will all that still happen in light of COVID-19? We can hope… and in the meantime, we can take comfort in this one-hour preview of what Lamb Of God’s latest lineup, now featuring former Prong drummer Art Cruz in place of retiring OG Chris Adler, has in store for us.

Division Of Mind at FYA Fest, Tampa, Florida, Jan 5, 2020

Taking things to a bit more of an underground level, here we have a room-destroying performance by Richmond hardcore ragers Division Of Mind, at Florida’s FYA Fest back at the beginning of this year. Guttural vocals, chugging guitars, brutal breakdowns, and an equally brutal mosh pit are what this video is all about. Better yet, despite the circumstances, it still features multiple camera angles and a great sound mix. Division Of Mind don’t have a social media presence (right on, I wish I didn’t), so I don’t know what’s up with them at this moment, but I’m sure they’d appreciate you grabbing a copy of their recent self-titled LP on Triple B Records if you haven’t already.

No BS! Brass Band at The Broadberry, April 17, 2014

Let’s take things in a more upbeat direction, shall we? This six-year-old live performance by No BS! Brass Band isn’t the most recent live footage online by this group, but there’s no substitute for seeing this Richmond favorite right here at home. And since at this moment, we have no way of knowing whether their gig planned for April 3 at The Broadberry is still going to happen or not, we may as well enjoy their music from home right now. Push the coffee table back and dance, y’all. And consider buying some merch from them, if you have the scratch — they will really appreciate the support. (Needless to say, that goes for all the bands on this list.)

Avail at House Of Independents, Asbury Park, New Jersey, September 5, 2019

Did you miss all the Avail reunion sets last year? Don’t worry, you’re not alone. And if you’re not planning to head to Punk Rock Bowling or Furnace Fest later this year, you might especially appreciate this audience recording of their set in Asbury Park last summer. This is one of the few videos I’ve picked that doesn’t have pro audio, so the sound isn’t perfect, but what is perfect is that evocation of what it felt like to be crammed up against the stage (always my favorite spot), singing along and avoiding the moshers… and the sweat flying off Beau Beau’s head. We can’t be there now, but it’s a lovely reminder.

Nickelus F and Ohbliv at Brewer’s Cafe, November 27, 2019

Want to chill with some fine hip hop? Check this Brewer’s Cafe session from last fall, featuring two of Richmond hip hop’s leading lights of the 21st century. Nickelus F is on the mic, spitting some of the best rhymes you’ll find anywhere in the world, while Ohbliv keeps the beats flowing on the decks. They’re behind the Brewer’s counter, and they aren’t serving up any hot drinks, but Brewer’s Cafe is still open for carryout and delivery today, and both Sweet Petey and Ohbliv have plenty of great tunes available over on Bandcamp for your listening pleasure (links above). They’d all appreciate your business during this trying time, I can assure you.

Palm Palm at River City Roll, September 1, 2019

If you know how awesome J. Roddy Walston & The Business were as a live act, you really need to catch Palm Palm, Walston’s new band with members of The Trillions, The Southern Belles, and the Milkstains. These folks had the misfortune of having their spring tour fall apart while they were on it earlier this month; they had to skip the last half of their dates and head home because all the other shows were cancelled. Fortunately for us, their set from last summer at River City Roll is online in its entirety, featuring high-quality audio and a very active single camera capturing the event from all kinds of angles. If you dig this, hit up Palm Palm online to support them by buying a t-shirt. After losing quite a few tour dates, they sure could use the help.

Windhand at Elsewhere, Brooklyn, NY, November 2, 2018

Windhand is another Richmond band who had a tour fall apart on them this month; indeed, this very night, they were supposed to be in Harrisonburg playing The Golden Pony. Now that show, and the rest of their March tour dates, are cancelled, and the only place we can see them is on YouTube. Luckily for us, this incredible live performance was captured by Revolver Magazine in high-quality audio by multiple cameras back in 2018, and we can enjoy it to our heart’s content now. With their tour having been cancelled, Windhand have been selling leftover tour merch on their BigCartel page — go grab some records and t-shirts if you’ve got the scratch.

.gif From God at Wonderland, July 5, 2019

Here’s what will doubtless be the messiest live video you’ll see this week — .gif From God laying waste to Wonderland last summer, in their inimitable fashion. This video is washed out and chaotic, full of flying hair and overdriven guitar chugs, and if you don’t know these songs going in, you might at times struggle to make out what’s going on. But that’s what .gif From God are all about, and if you ask me, it’s part of their charm — a delightful wall of chaos. No word as yet on the status of .gif From God’s April tour, but if you don’t have a copy of their latest LP, approximation_of_a_human, now is absolutely the time to get one. And if you do, you should donate to their Richmond Reproductive Freedom Project fundraising team — a good cause is still a good cause, even during a quarantine.

Bio Ritmo at Rio Loco Festival, Toulouse, France, June 19, 2015

And now for something completely different — a high-energy salsa infusion from long-running local band/party machine Bio Ritmo. This was filmed several years ago and far from home, but don’t get it twisted — this impeccably-documented performance is still muy caliente and well worth your time. Bio Ritmo haven’t performed locally since back around Christmas and don’t have anything in particular coming up, so why not stock up on their impressive back catalog over at their Bandcamp? Guaranteed to heat up your living room even if your space heater’s broken.

Good Day RVA Live Sessions Playlist, feat. Benjamin Shepherd, McKinley Dixon and Friends, Sports Bar, Doll Baby, The Wimps, Spooky Cool, Antiphons, Dumb Waiter, Clair Morgan aka New Lions, Dave Watkins, Lobo Marino, Navi, The Trillions, Andrew Alli & Josh Small, White Laces, Nelly Kate, Houdan The Mystic, Black Girls aka Rikki Shay

Who’s up for a lightning round? Good Day RVA have got the mother of all live sessions for you here with a mega-playlist featuring all of the sessions they’ve filmed over their entire career, which has been going on for… damn near 10 years now. Wow, time flies, huh? These videos feature a who’s who of Richmond’s best musicians, captured at various evocative sites around Richmond and ensuring that the city itself is just as much of their videos as the excellent bands involved. Maybe you’ve missed some of these over the years and need a reminder, or maybe you saw them all when they came out and would just enjoy a playlist full of great Richmond sights and sounds with which to warm your heart while you’re stuck in the house. Either way, this will go down smooth and warm your heart and soul. Guaranteed.

Must-See Shows will be back next week. Whether we return with actual live shows around town, or more video picks to get us through another week of quarantine, only time will tell… but I’m not getting my hopes up. See you then!

VA Shows You Must See This Week: October 2 – October 8

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FEATURED SHOW
Monday, October 7, 7 PM
Mudhoney (Photo by Charles Peterson), Pissed Jeans, Gumming @ The Broadberry – $25 (order tickets HERE)
Our city is lucky this week, for we are being graced by the presence of grunge royalty. But if you listen to the typical 2019 discussion around the Seattle scene of the early 90s, you might not even know it. For some unfathomable reason, Mudhoney are often left out of the conversation — the most egregious recent example I can think of being after Chris Cornell passed away, when people kept saying “Eddie Vedder is the only singer from the grunge era left.” If I had a nickel for every time I had to tell someone “Mark Arm is still alive and well and touring with Mudhoney” during that whole cultural conversation, I could have cleaned up at dollar taco night.

So let’s set the record straight right now: Mudhoney are one of the primary progenitors of the Seattle sound of the early 90s. Frontman Mark Arm and lead guitarist Steve Turner had previously been in Green River, the other half of which went on to form Pearl Jam, and they got Mudhoney rolling in 1988 with the classic garage-grunge single “Touch Me I’m Sick.” When peers like Soundgarden, Nirvana, and Pearl Jam were signing to major labels and going big, Mudhoney were the last ones to stay faithful to Sub Pop Records, the label that kickstarted it all. And when they finally made the leap to Reprise in 1993, they never quite got the high profile that those other bands attained. If anything, it was because Mudhoney’s sound was too high-octane for the mainstream, a potent mix of garage-punk freakout and noise-blues howl.

But what Mudhoney lost in commercial popularity at the peak of grunge, they’ve more than made up over the years with sheer staying power. Having returned to Sub Pop for 2002 LP Since We’ve Become Translucent, they’ve cranked out four more raging slabs of classic Mudhoney gnarl, and just last week released an absolute burner of a seven-song EP entitled Morning In America. Over 30 years after their formation, they’re showing no signs of slowing down, and Richmond is highly privileged to have the Mudhoney train stop through at the Broadberry this Friday night to rock us in their time-honored fashion. The fact that Pennsylvania sludge-monster maniacs Pissed Jeans and local noise-punk heroes Gumming are also on the bill is a nice bonus treat, but really, it’s all about Mudhoney. Come out to the Broadberry Monday night and get muddy.

Wednesday, October 2, 7 PM
Acid King, Wizard Rifle, Warish @ Capital Ale House Music Hall – $18 in advance/$20 day of show (Order tickets HERE)
Back in the heady days of the mid-90s, if you wanted to be at the forefront of the still-building wave that was the stoner/doom metal scene, you had to be aware of Man’s Ruin Records. The label of legendary Bay Area poster artist Frank Kozik, it’s best remembered today for some of the earliest releases by Queens Of The Stone Age. But that most accessible of stoner groove bands is only the tip of the iceberg. People who knew what was up also picked up on classic releases — many in the 10-inch vinyl format — by bands like Electric Wizard, Orange Goblin, Iron Monkey, and Richmond’s own Alabama Thunderpussy (whose debut LP was a Man’s Ruin release).

Acid King were one of those treasures discovered by Man’s Ruin fans back in the 90s, and unlike Man’s Ruin itself, which folded in the early 00s, Acid King are still going strong over 20 years later. Their current tour is in celebration of their second LP, Busse Woods, released two decades ago and full of the witchy psychedelic doom metal that is Acid King’s stock in trade. Pairing frontwoman Lori S.’s ethereal vocals with absolutely punishing sludge riffs, Acid King created a template that was undoubtedly inspirational for bands like Windhand, and are still dishing it out at peak efficiency after all these years. Come to this one prepared for some slow-motion headbangs — Acid King will not let you down.

Thursday, October 3, 7 PM
Operator Music Band, FM Skyline, Houdan The Mystic, Ethanol @ Gallery 5 – $10
If you enjoy doing shuffle-footed dances to bouncy retro electro-pop, this show is certainly one that will please you. Operator Music Band have a strange name and even stranger haircuts, which are sure to make you wonder how seriously you’re supposed to take them (OK, it makes ME wonder that). However, one listen to their brand new LP Duo Duo is enough to demonstrate that this band is no joke.

Mixing some excellent beat-driven space age bachelor pad vibes in with catchy upbeat tunes that feature the slightest edge of postpunk darkness, mostly covered in dayglo, gives Operator Music Band a certain Stereolab resemblance. But Stereolab never got you dancing quite like this band does, and all of the strange and wonderful trappings ultimately act in service to the hypnotic motorik beat. Wear your dancing shoes for this one — they’re gonna get a workout.

Friday, October 4, 9 PM
Diavol Strain, Thin Pigeon, SameStory @ Fallout – $10
October is only just getting started, but things are always spooky down at Fallout, Shockoe Bottom’s legendary members-only goth fetish club, so I suppose the fact that we still have weeks left before Halloween isn’t really a factor in how dark and occult things get down there on any given weekend. Case in point: this show, featuring Chilean postpunk/darkwave duo Diavol Strain. This non-binary/feminist band brings exactly the sort of terror to Fallout that bands like Siouxsie And the Banshees were bringing to the UK in the early 80s, only with a much stronger political consciousness that’s sure to appeal to the feminist punks who favor heavy eyeliner and black nail polish.

Coming to us all the way from South America, this group’s unique take on the moody synth atmospheres, spectral bass guitar melodies, foreboding vocals, and pounding programmed drums of darkwave stands out as particularly skilled on their 2018 LP, Todo el Caos Habita Aqui (“all the chaos lives here”). The fact that they’re taking the gloom-enshrouded stage at Fallout on a rare weekend night open to non-members makes this a particular treat for all the goth babes out there, non-binary and otherwise. Float on down to Shockoe Bottom Friday night and let’s get spooky. Every day is Halloween.

Saturday, October 5, 6 PM
Blush Face, Gull, Spooky Cool @ Hardywood – Free!
It’s been a couple of years since power-pop/indie-rock combo Blush Face wowed the river city with their debut full-length, What Do You Want?, but they’ve hardly been lazy in the intervening months. If you need proof of that, look no further than the fact that this free Saturday night show at Hardywood is their 100th! Our sincere congratulations to Blush Face, from whom we look forward to many more.

As we reported in the Studio News column in RVA Mag #37, we can expect some new material from Blush Face soon as well — they’ve recently been in the studio with Mitch Clem (Fight Cloud) and Tim Falen (Piranha Rama), crafting a full-length follow-up to What Do You Want? that singer-guitarist-chief songwriter Allie Smith promises should feature not only a new dose of their catchy songs but even some string-section augmentation! Get a preview of all that, as well as a dose of the songs we all know and love, from Blush Face this Saturday night — for the hundredth time! Still not enough for us, by any means. Gull and Spooky Cool will be along for this excellent musical free ride. Don’t be left at the station.

Sunday, October 6, 8 PM
Exotica, Malimpliki, Haircut, Ghouli @ Mojo’s – $8-10 donation
“Exotica” is a musical term that was thrown around a lot in the mid-20th century, but if you show up to Mojo’s this Sunday night expecting some of Martin Denny’s ersatz tropicalia, you’re going to be in for a big surprise. The Exotica that’s coming to Mojo’s is a raging bilingual punk band from New York, whose three releases thus far have all been volumes in their ongoing series of wild, frenetic assaults known as Musique Exotique.

While they definitely hew closely to the sort of old-school punk assault you’d expect from bands using the sort of severe black and white cover art Exotica favor, the spirit of their name does come through in the undeniably chaotic undertones of their songs, which often feature unusual instruments working seemingly at cross purposes to the roaring noise overtop. It all comes together in fine fashion, though, and hits all the harder because of that. Exotica comes to us in the company of Malimpliki, a more stripped-down hardcore punk band hailing from Japan and singing in Esperanto, if online reports are to be believed — it all just sounds like furious screaming to me. Local ragers Haircut and Ghouli are on board to make this one even more wild and wooly. This show’s gonna bowl you over with fury from beginning to end, and you’re going to enjoy it. That’s an order.

Monday, October 7, 6:30 PM
Just Friends, Save Face, The Sonder Bombs, Hotline TNT @ The Canal Club – $13 (order tickets HERE)
Oh shit, y’all — ska-punk is officially back. If you go by what Cali 10-piece (I like to use the number words, but past “octet” I’m kinda lost. Is a 10-piece a “dectet”? That sounds vaguely dirty) Just Friends will tell you, though, they’re funk punk, but anyone else who survived the early-90s post-Nirvana alt-rock explosion knows that “funk-punk” is what you call the Red Hot Chili Peppers and Fishbone. What I hear when I check out Just Friends singles like “Supersonic” and “Stupid” is straight-up ska-punk, and not even the speedy and politically-informed sounds of Operation Ivy or even the early Mighty Mighty Bosstones. No, to understand Just Friends, you’ll need to think more along the lines of Voodoo Glow Skulls and Save Ferris mixed with goofy pop like Len’s “If You Steal My Sunshine” or even the outright joke-band sound of Bloodhound Gang.

None of which is to say that this stuff doesn’t rule; we all need a chance to turn off our brains and just dance like idiots every now and then, and this Monday night at the Canal Club, Pure Noise recording artists Just Friends will be providing exactly that kind of opportunity. They’ll be joined on this trip through RVA by some more straightforward sounds, primarily those of Beatlesque emo-punks Save Face, whose full-length debut, Merci, was released by the almighty Epitaph Records last year. Ohio jangle-pop quartet the Sonder Bombs, who apparently named themselves after the realization that other people have complicated lives too, will make this bill that much sweeter and more special, as Minneapolis trio Hotline TNT kick things off with some shoegaze-grunge-punk awesomeness. This one’s gonna be outstanding.

Tuesday, October 8, 7 PM
Gull, Imelda Marcos, Dumb Waiter, Jono Stewart @ Gallery 5 – $5
The band Imelda Marcos hails from Chicago, not the Philippines, and one would assume they have a much smaller shoe collection than that of their namesake (the wife of a dictator who was deposed in the mid-80s). However, what they lack in flashy footwear is more than made up for by their extravagant collection of riffs, which they roll out spectacularly on latest full-length Tatlo, released on cassette earlier this year.

Imelda Marcos’s guitar-drum instrumentals are the sort sure to please people who loved early Hella, back when they too were a duo that just blasted out tangled, noisy collections of riffs backed by complex, hard-driving beats. There’s some Crom-Tech and some some Lightning Bolt lurking in this band’s DNA as well, but their slices of fascinating instrumental chaos are, at the end of the day, entirely their own. It makes them a perfect pairing with local Richmond talents Gull, that one-man machine of beautiful indescribable noise, and Dumb Waiter, that four-man orchestra of jazz-metal chaos. This show will bring you more RPM (riffs per minute) than any other show happening this week — maybe this entire year. Get on board.

Elsewhere Around The State:

Friday, October 4, 8 PM
Snake Mountain Revival, Ladada, Mister Earthbound @ The Bunker Brewpub (Virginia Beach) – $5 in advance/$8 day of show (order tickets HERE)
Things are getting psychedelic down in Virginia Beach, as Snake Mountain Revival prepares to release the follow-up to last year’s self-titled debut EP. We haven’t been able to get a listen to the new EP, which is entitled Valley Of Madness, but if it’s anything like the sort of witchy desert acid-trip jangle they unleashed on their debut, it’s sure to be excellent.

Lots of bands over the years have engaged in astral travels using vehicles that are lysergic in nature, but it’s a bit rarer to find a band that plumbs the depths of the mind’s spookiest corners the way Snake Mountain Revival does. If you ever wished the “killer on the road” verse of “Riders On The Storm” by The Doors hit as hard as Gun Club or The Wipers, these guys are sure to delight you. So come celebrate a new dose of not quite metal, not quite punk, but certainly heavy psych sounds from this killer VA Beach trio. It’ll be worth the drive — even if you are still seeing trails on your way back.

Sunday, October 6, 6 PM
Erin McKeown, Alice Clair @ The Southern Cafe (Charlottesville) – $15 (order tickets HERE)
As musicians go, Erin McKeown is not the easiest to categorize — she mixes folk and country with pop, jazz, and rock n’ roll in a way that makes every new tune a bit of an adventure. But after 20 years in the business, she’s built up quite a solid track record of making unique, entertaining music that’s sure to put a smile on your face. Even when you can’t quite determine what genre each individual song belongs in.

McKeown, who originally hails from Fredericksburg and now makes her home in Massachusetts, most recently released 2017 EP Mirrors Break Back, but has also been busy over the past couple of years with Miss You Like Hell, a musical about family, road trips, and the struggles of undocumented immigrants that she wrote with acclaimed playwright Quiara Alegria Hudes. There’s a certain kind of fun you can expect from a performance by any artist who has written a musical, and Erin McKeown will bring plenty of that kind of fun, plus a bag full of excellent tunes from any and all genres you can think of, to Charlottesville’s Southern Cafe this Sunday night. It’s gonna be a fine way to wrap up your weekend.

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Email me if you’ve got any tips for me about upcoming shows (that take place after the week this column covers -– this week’s column has obviously already been written): [email protected]

Music Sponsored By Graduate Richmond

Fahrenheit Fair Enough: Weekend Playlist by Brother Rutherford

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Every Friday night, RVA Mag introduces you to yet another outstanding playlist curated by Virginia’s most influential artists, musicians, and institutions.

This week we are graced with a heaping helping of musical delights from none other than Brother Rutherford, who you Richmond music devotees may recognize as Ethan Johnstone, drummer for local math-rock groups Night Idea and Houdan The Mystic. He’s just released his first solo album under the name Brother Rutherford, Tunneling, which is a progressive instrumental rock album with touches of electronic, folk, and ambient sounds.

In addition to helping you get familiar with Brother Rutherford’s unique sound, his mix for us this week will fill your weekend with delightfully progressive and intelligent sounds drawn from all sorts of different genres, but all sharing a clear mood. It’s perfect for finding a shady spot outdoors and relaxing.

Get in the mood, Virginia.

Open this playlist from mobile in your Spotify app HERE.

Music Sponsored By Graduate Richmond

Houdan the Mystic / Headlessmantis / Lucid Traveler / Mad Habit at Gallery 5

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Doors 8pm / Sounds 9pm // DOS $5

On 4/21 at Gallery5!: Come see your new favorite bands before they are famous celebrities!

FIRST UP! Mad Habit
https://madhabitband.bandcamp.com/
AND THEN! Lucid Traveler
https://soundcloud.com/user-918130990
AND THEN! Houdan the Mystic
https://houdanthemystic.bandcamp.com/
AND FINALLY! HEADLESSMANTIS
https://headlessmantis.bandcamp.com/

This show is presented by: Progress Festival, a 3 day music and arts festival May 18th-20th in Dublin, VA
And:
The Jamwich, a regional magazine devoted to spreading the joy of music and artistic expression!