Inter Arma Archives

The Richmond Music Catalog 1980-2021 Part 2

Marilyn Drew Necci | January 5, 2022

Topics: Engine Down, Erin & The Wildfire, Fan Ran, Fight The Big Bull, Fighting Gravity, FM Skyline, Four Walls Falling, Fudge, Fun Size, gwar, Holy River, Holy Roller, Honor Role, Hot Lava, House Of Freaks, Inquisition, Inter Arma, Iron Reagan, J Roddy Rod, J Roddy Walston and the Business, Jason Mraz, Johnny Ciggs, Jonathan Facka, jonathan vassar, josh small, Lobo Marino, richmond music, The Richmond Music Catalog

I’ve been going to shows in Richmond for what I am frightened to realize is just shy of three decades now. I showed up as a fresh-faced college kid still too young to get into the 18+ shows, and these days I’m rapidly entering the back half of my 40s. My point? It’s safe to say that I’ve seen a ton of music from this city come and go.

And yet, it’s also very safe to say that I still have a ton left to discover. From the many bands (going back a good bit farther than even the 1980 date given as our ostensible starting point) that came along when I was still a kid (or maybe not even born yet) to the younger artists making noise right now in underground venues that I’m no longer young and hip enough to even learn about, there’s so much still to discover.

No matter what some scientist might tell you about how people stop listening to new music at 33 (google it, that’s a real study), I say it’s never too late to find new sounds with which to enrich your life. And there’s no better place to find them than embedded deep in the musical underground of your very own city. Whether you call it Richmond, RVA, river city or cap city, you can’t deny that there’s a ton of great music happening here. So let’s dive in, shall we? Welcome to The Richmond Music Catalog, part 2 of 4. — Marilyn Drew Necci

You can also check out Parts 1 (A-D) 2 (E-J) 3(K-R) 4(T-Z). Enjoy!

THE RICHMOND MUSIC CATALOG PART 2

Engine Down, ‘Rogue’ Engine Down
2004 Lookout! Records

Engine Down was a four-piece rock band from Richmond, Virginia, active from 1996-2005. They were a part of the Washington, D.C. area post- hardcore movement, along with bands like The Dismemberment Plan, Q and Not U, and Faraquet. The lineup included Keeley Davis on guitar and vocals, Jason Wood on bass and vocals, Jonathan Fuller on guitar and backup vocals, and Cornbread Compton on drums. In early recordings Wood and founding member Jeremy Taylor served as primary lead vocalists, but later in their career the duties of lead singer switched primarily to Davis. In 2005 Engine Down disbanded, following a farewell tour. Davis joined the band Sparta as lead guitarist. Compton began drumming for various bands including Biology, a side project with From Autumn to Ashes members Francis Mark & Josh Newton. Compton then joined Cursive to record their 2009 album Mama, I’m Swollen. Keeley and Jonathon Fuller have reunited in both Denali, and new band, Heks Orkest, featuring Denali member, Cam DiNunzio. — from Sputnik Music

Erin & The Wildfire, ‘Thirsty’ Thirsty
2016 Self Released

Charlottesville, VA-based Erin and the Wildfire will return with their new album Thirst, due out tomorrow (September 29). The sextet formed at nearby University of Virginia in 2011 and will release a new album inspired by the likes of Alabama Shakes, Vulfpeck, Funkadelic and Tedeschi Trucks Band (among others).

“We are stoked to have a cohesive, expressive record that we are proud of and represents a sound we’ve been working towards for years,” Erin Lunsford told Relix. “Thematically, Thirst is about my quest for love. I’d say a quarter of the songs are about one person in particular who I chased for a couple/few years. The song ‘Thirsty’ was the first in the series of longing songs followed by ‘Nothing Drowns You Out,’ ‘Meant For Me,’ ‘One Woman Show,’ and finally ‘Great Love.’ Longing turns to obsession turned to insecurity turned to anger turned in the end to a surrender of sorts with ‘Great Love.'” — from Relix

Eucharist, “Fooled Again,” Eucharist
1996 Mountain Records

Eucharist played crushing hardcore with influences from some of the best late-’80s/early-’90s US hardcore bands. I can hear traces of Infest, Citizens Arrest, Born Against, Rorschach, Crossed Out, etc. Besides this 12″, they had a few tracks on the Nothing’s Quiet on the Eastern Front compilation LP (alongside Devoid of Faith, Assfactor 4, Dropdead, Monster X, and more), the Vida Life comp (on Lengua Armada), and the, uh, Double Dose of Dicks 2×7″ comp. Their guitarist Mark Telfian would go on to play in the band Hail Mary and was the original guitarist of Limp Wrist. He also did the label Paralogy Records. –from Maximum Rocknroll

Fan Ran, ‘Trainwreck’ Loose Bowels
2017 Gritty City Records

“My influences on my style are AZ, Pimp C, & Prodigy,” said Ran. His influences are the reason he has such thoughtful lyrics. Some powerful tracks off of the album are “Train Wreck,” “Hunnid Dolla Bill$,” “All My Friends Are Dead,” and “God is Good.” The opening track, “Train Wreck,” was one of the oldest records on the album, but one of the most powerful songs. “The song was written after a whiskey binger weekend,” said Ran.

The track is a standout record because it is filled with heavy lyricism. “Hunnid Dolla Bill$ is a “fan favorite” according to the artist. And after one listen, I understood why. The track stands out with this heavy bass hitting instrumental with a deep vocal hook. “Hunnid Dolla Bill$” was the track that was the most fun to record,” said Ran. “Just being in the studio with the homies drinking a few brews, and we went into the booth and knocked out the song.”

The most personal track on the album is “All My Friends Are Dead “ which reflects Ran’s past over the last few years. “For that song it wasn’t about the lyrics,” said Ran, who mentioned losing friends to cancer and drugs. “I just went into the studio and started writing down a list of my friends that are dead and started rhyming their names. I’ve lost seven friends within the past three years.” — from RVA Magazine, May 19, 2016

Fight The Big Bull, ‘Mothra’ All Is Gladness In The Kingdom
2010 Self Released

Once upon a time, music was a craft, and the art form’s great craftsmen weren’t known as producers, but rather composers, arrangers, soloists, and bandleaders. It was an era when jazz served as the great storehouse of culture and style, and the big band functioned as archivist, interpreter and emissary to the masses. Matt White, the 27-year-old guitarist, composer, bandleader, and craftsman behind Fight the Big Bull, knows that time is now.

Make no mistake: There’s nothing nostalgic or revivalist about Fight the Big Bull. The “rapturously chaotic sound” owes as much to the band’s open ears as it does to their mastery of tradition. Forged in the fall of 2005 around the (now defunct) avant-garde guitar-trombone-drum trio Fight the Bull, the group has become a Richmond, Virginia, institution through their reputation for fearless improvisation and White’s clever, forward-looking charts. A bi-weekly local gig quickly garnered the band an eclectic following of devoted purists and eager converts, and their 2008 debut Dying Will Be Easy, on the Portuguese label Clean Feed, pushed the group before a national audience, earning them feature spots on WNYC and NPR’s Fresh Air, while Popmatters.com listed the record among the year’s best. It wasn’t long before the band landed a gig at celebrated New York avant-garde venue The Stone and a series of guest spots with visionary saxophonist Ken Vandermark in Chicago. — from Kennedy Center

Fighting Gravity, ‘Fools & Kings’ Forever=One Day
1996 Mercury Records

OK, class, pop quiz. Question: Assume there is a crowd-pleasing seven-piece ska-influenced group from Richmond, Va. Let them be called Fighting Gravity. Take as a given that every year, Fighting Gravity travel tens of thousands of miles up and down the Eastern seaboard playing both on and around college campuses for varying fees. Factor in that the band has done so ever since its founding at Virginia Polytechnic Institute approximately one decade ago. Now calculate exactly what Fighting Gravity have learned after all that up-close experience with higher education. — from Rolling Stone

Fire & Ice, “Not Of This Earth,” Not Of This Earth
2012 Reaper Records (video live at United Blood 2013)

The record brings us that Fire & Ice hardcore sound with a great groove to it, something we know bands such as Dead End Path, Expire and Backtrack so well for. I think it is cool to see all these bands go their own way, and make music that they love instead of sticking to the traditional way of doing things, and making the same records over and over again. The guys from Fire & Ice have followed their instincts and put something great together here.

‘Not Of This Earth’ is the title track of the record and kicks the whole thing into gear right from the start. The track has a slightly progressive (in terms of hardcore music) opening that will make sure to get the kids swinging. –from Legends Arising

500$Fine, “Learning,” Forward
1997 Self Release

We’re used to believing that in the age of the internet, everything lives forever. Of course, if you had a Geocities site 20 years ago or a MySpace account 10 years ago, you know that isn’t true, but still. What about stuff from before the internet, though? How much history that still exists within living memory is totally unknown to everyone that wasn’t there at the time? To be more specific: how many of my readers under the age of 35 have any idea that the basement cafeteria of a Catholic school in Chesterfield County was once one of the more consistent music venues in the Richmond area?

I know, it sounds crazy! And yet, for a time in the late 90s, St. Edwards Epiphany School on Huguenot Road acted as a gateway for an entire generation of suburban high schoolers to get into the music scene. It seemed like a safe place to drop your curious 12 year old — because it very much was — and everyone from teenage pop-punk bands to downtown stalwarts played there on at least a semi-regular basis.

Of course, for the most part, you can’t hear any of the bands that were St. Edwards regulars anymore — at least, not the way they were heard at the time. Their primitive 4-track demo cassettes may have been digitized at some point, but the recording technology 18 year olds had access to at the time wasn’t the greatest, and almost none of these bands left behind recordings that captured the immediacy and joy of seeing them live. Therefore, we can all be grateful that, this Saturday night, half a dozen of the most memorable veterans of St. Edwards’ basement stage will be back together once again, doing a set for old times’ sake down at Capital Ale House.

Fun Size is still around today, so you may have caught their catchy, emotional pop-punk sound at one point or another. But 500$Fine’s bassist, Patrick Daly, tragically died at the age of 16, so this performance, with Bradley Lile of fellow St. Edwards stalwarts Cloud 13 filling Patrick’s spot on bass, will be their first in over two decades. Their fiery, political take on reggae-influenced melodic punk made them Chesterfield’s own high-school Clash for a couple of years. If you’ve never seen them before, you need to fix that. –from RVA Magazine, November 26, 2019

Flesh Eating Creeps, “Fuck It Up, Richmond Style,” The Book About The Movie
2015 Handstand Records

Flesh Eating Creeps were a Richmond, Virginia hardcore punk band from 1995 to 2000. Over that time, they had 6 bassists, released a few EPs, and played a lot of shows in Virginia and its neighboring states. Members went on to form the bands Brainworms, City Of Caterpillar, Light The Fuse And Run, Municipal Waste, Stop It!! and Worn In Red. The two constant members, Chris Terry and Brendan Trache, worked with old friend Will Cole of Handstand Records to digitize vinyl and tape recordings, scan photos and flyers, and compile as much information as possible for this comprehensive, 58-song discography that includes deluxe and standard cassette releases, a Bandcamp download/stream, and an archival band website. –from Bandcamp

FM Skyline, ‘Overture’ Illuminations
2021 100% Electronica

FM Skyline, real name Pete Curry, is an Electronic, Vaporwave and Pop/Synth artist who has been in the game for several years now. In that time, he’s released a few studio albums, some of which are absolutely essential to any Vapor/Synth/Electronic collection regardless of which format you collect. Albums like Deluxe Memory Suite, EarthSim and Advanced Memory Suite are some of the finest the genre(s) have to offer. Recently, FM Skyline put out his studio effort which is called liteware, and I believe in time it will be looked back upon as yet another classic within the genre. Plus, it’s on 100% Electronica, so you can trust that it will be fantastic. — from VW Music

Four Hundred Years, “Red Tape,” Four Hundred Years EP
1996 Yuletide Records

At last! The legendary Suture LP (originally released on Great American Steak Religion) plus the first Four Hundred Years 7″ (originally on Yuletide/Rosepetal) has reappeared for the masses on CD format! This album is one that garnered the band critical acclaim and cult status around the world with its poignant political lyrics and unabashed energy. Indeed, this is timeless post-punk that will rekindle the flames of discontent and revive the revolutionary spirit. –from Dischord Records

4 Walls Falling, ‘Culture Shock’ Culture Shock
1993 Jade Tree

Scenes are often dated. Passion and skill, however, dodge the expiration date, explaining the staying power of 4 Walls Falling. While most prominent in the early to mid-’90s, 4 Walls Falling helped define-and continues to inform-a cathartic, inventive and personal style of hardcore still incapable of being watered down with tags like the “E” word. Drawing from the same zeitgeist as groups such as Endpoint and Turning Point, Four Walls chugged without machismo, and vented without moping. Simultaneously emotional and specifically political, songs like “Greed” or “Culture Shock” define 4 Walls Falling as an underground classic of recent times. — from Jade Tree

Fudge, ‘Girlwish’ Something Pretty Beautiful: A Brilliant Compilation
1993 Brilliant Records

In just two albums, Fudge shifted from dreamy bubblegum to pop-punk. The Richmond, VA, band met through mutual friends in 1990 and played for almost a year before finding a bass player or a suitable rehearsal space. Tony Ammendolia (vocals/guitar), David Jones (guitar/vocals), and Mike Savage (drums) wrote songs for the first album in a downtown apartment until Steve Venable (bass) arrived. Using a title borrowed from an e.e. cummings poem, The Ferocious Rhythm of Precise Laziness arrived on the major minor label Caroline in 1993, selling 10,000 copies and securing a tour with the Buzzcocks. Southside Speedway, with its shorter and harder-hitting songs, came out one year later. Citing minor differences among its members, Fudge split soon afterwards. Savage and Venable later played in Cherry 2000 until February of 2000. Jones joined Dynamic Truths and Ammendolia joined the ranks of fatherhood. — from All Music

Fun Size, ‘End Of The Road’ Since Last We Spoke
2012 Self Released

Well, in a further confirmation of my pet theory that every band that breaks up eventually gets back together, 90s-era Richmond pop-punk flagbearers Fun Size have returned. With three-fourths of their best-known lineup (only lead guitarist Orice Collins has been replaced by Pedro Aida) back in the fold, they’ve put together a new album called Since Last We Spoke and have now released that album’s first single, “End Of The Road” (available for download from their bandcamp page). The song itself might be my favorite thing that I’ve heard by Fun Size. While their 90s output seemed more influenced by bands like Green Day, frontman James Menefee has been dipping his toes into a more midwestern, perhaps even Westerbergian, alternative rock sensibility in his recent work with Long Arms, so it’s no surprise to hear a solid Replacements influence in the chorus–but it’s definitely cool. If the whole album sounds like this, I’m gonna love it. — from RVA Magazine, November 8, 2012

Grip (aka Dayspring), “Diffidence,” Friction Burn Fatal
1993 New Age Records

Grip remains one of my favorite local bands ever, and this EP is jammed with awesome riffs and great songs from that niche of the 90’s where metallic hardcore and weirdly melodic not-quite-“emo”-but-still-kinda-sorta-“emo” meshed rather nicely. The band had morphed into the equally awesome (and, sadly, equally short-lived) Dayspring by 1994, so this 1993 EP was their sole release. Great shit. –from Aversionline

GWAR, ‘Sick Of You’ Scumdogs Of The Universe
1990 Metal Blade Records

Before Oderus Urungus, leader of GWAR, answers any questions, he reminds me that I, a mere human, am “an insignificant speck of diarrheic phlegm.” When I reveal for whom I am writing this article, he replies, “SPIN… Ah yes, I think I wiped my buttocks with it once.” Such is the wisdom of the gods.

Well, not exactly gods. GWAR is actually a posse of Antartic warrior demigods. GWAR is also the sickest heavy metal parody band in the galaxy. But it would be best to let Oderus tell the story: “GWAR was created by the master of creation, an ambiguous being named Larry, as the ultimate doomsday device. GWAR was at one time in the legion of Scumdogs of the Universe, but they were banished to the earth. GWAR’s ultimate goal is to leave Earth, after destroying it, and rejoin the Scumdogs.”

Musically, GWAR is a hardcore quintet that spews a delicious viscous goo, blending Black Sabbath, the Meatmen and the Dickies. Live, they expand to 14 performers (non-musicians are called slaves, as are their fans), each dressed in outrageous Dungeons-and-Dragons-on-cough-medicine costumes.

The characters in GWAR (and they are always in character) are warriors who have taken to our earth’s strange indulgences. For instance, they all love crack cocaine. Flattus Maximus attributes his explosive guitar style to “a strict diet of vegetarians.” Balsac the Jaws of Death “writes songs by scratching his scrotum with his guitar.” — from Spin

Hex Machine, “Chub,” Fixator
2012 Learning Curve Records

Here it is, folks, the new video from RVA noise-rock auteurs Hex Machine! Yes, it’s true–a few months ago, I presented you guys with a new Hex Machine video that was basically just an album cover floating overtop of an abstract background while a song plays. And I’m not apologizing for that, either, because the song was just that good! But this is the real thing–an honest-to-goodness video for “Chub,” the newest single from Hex Machine’s second full-length album, Fixator, which came out this week on Learning Curve Records. Hex Machine leader Trevere Thomas and his current crew of road warriors may start this track with a wall of screeching noise, but there’s a real melodic sensibility lurking beneath the distortion and headbang-worthy riffs, as you’ll see on “Chub”‘s chorus.

What’s even cooler about all this is the video, directed by Philip Shive of the mysterious Voice Of Pizza, which really does look like the sort of clip that an off-kilter noisy alt-rock band would make back in the early 90s. It mixes what appears to be found footage from 30 to 40 years ago of all kinds of random stuff–a skipping businessman, little league baseball players, a dramatization of a surgical procedure–and some serious film distress that results in constant visual interference falling across the screen. I can’t really describe it any better than that, but it’s really cool and looks like the sort of video that Barkmarket used to foist upon an unprepared audience during the last hour of Headbanger’s Ball. Barkmarket mixed with the Jesus Lizard isn’t a bad musical reference for Hex Machine either, and it’s great that they’re bringing that sound to the RVA music scene–we could always use more loud, weird rock n’ roll! –from RVA Magazine, August 30, 2012

Holy River aka Lobo Marino, ‘Come With Me’ Kite Festival
2012 Self Released

Up to this point, their songs were planned around Price playing guitar, Sullivan on accordion, and a third member filling in the gaps. Now, with another set of songs almost complete, they were considering their next logical step. In many ways, this was the exact challenge they needed to face in order to create what has since become the standard setup for a Lobo Marino show.

This began with Sullivan’s acquisition of a harmonium–a type of organ, popular in the late 19th century (and to this day in India) that generates sound with a bellows. “Once I got the harmonium, that is what really helped us fill that space with the necessary bass,” Sullivan explains. “It also helped me find my voice. When I wrote on the accordion, the challenge was that it was higher than I was comfortable singing with. On the harmonium, the lower register comfortably suited my voice.”

At this point, Price also diverted his attention from strictly playing guitar on their songs. He began using a variety of percussive tools–everything from an enormous bass drum to vases to bells strapped to ankles. Just about anything under the sun was fair game. These instrumental changes helped guide the two as they decided to make their next recording a live album. For the session, Price and Sullivan were joined by a variety of musicians over the course of an evening in the upstairs corridor of Gallery5. “We were excited to invite what we consider to be our close family to one of our favorite spaces and have them be a part of this experience. It was also a strong testament to what our band had transformed into,” Sullivan says. This collection of songs, released in 2012 and entitled Kite Festival, perfectly articulated the sound of Lobo Marino up to that point. Songs like “Celebrate” and “Stay With Me” examined the delicate intricacies of their sound; one song relied heavily on percussion, another on the subtlety of their lyrical nuances. –from RVA Magazine, December 28, 2015

Holy Roller, ‘Muscle Up’ Muscle Up
2019 Self Released

You may not be familiar with the name Holy Roller or even know what it is, but you will definitely recognize some of the faces in this four-piece band that has recently made its debut, with an album slated to drop this fall.

Holy Roller is a new project from the guys of former Southern rock band Big Mama Shakes, who performed their last show under the name back in the spring. And now, armed with a new member, new material, and a new name and sound, the band is eager to show fans, old and new, what they’ve been working on.

Since forming in 2013, Big Mama Shakes entertained Richmond crowds and beyond with their raw, energetic shows and southern charm. Since releasing their debut album, As She Does in 2015, the group built up a solid following with a monthly residency at The Camel, touring up and down the east coast and midwest, and playing alongside major names like Passion Pit, Incubus, and Nathaniel Rateliff. — from RVA Magazine, August 28, 2018

Honor Role, ‘Purgatory’ The Pretty Song
1987 Self Released

Honor Role emerged from being one of America’s most undistinguished hardcore bands to breathe new life into the genre. They developed so fast that they were more or less unloved in their time. The prime lineup(s) set a solid foundation of throbbing, dub-punk rhythms upon which guitarist Pen Rollings could flash his indie rock guitar-heroics and Bob Schick could emote his incredibly insightful, humanist lyrics in a voice both angst-ridden and empathetic. Few bands today boast a vocalist and a guitar player even remotely as passionate or talented as the pair.

The Pretty Song, co-released on Corrosion of Conformity drummer Reed Mullin’s label, is a burst of ideas and approaches. A vari-speed series of rhythmically nimble skips and trudges are dolloped with guitar noise and real songcraft. Highlights are “Throwing Rocks,” a downtrodden chug, and the sing-along bass-driven gloom of “Purgatory.” Bob Schick proves equal to both bitter haranguing (“Observation,” and “Jank,” a rip-snorting B-side) and weary meditations on doubt (“Six,” “Care Taker”). The whole band brims over with edgy intensity (maybe just perpetual nervousness). Although weakened by overly reverbed ’80s production, the record is a milestone and its influence on good folks from Superchunk to Don Caballero is easy to hear. — from Trouser Press

The Honorable Sleaze, “Hell On Wheels,” Heavenly Devilish II: Demons
2017 Gritty City Records

Last night, Richmond was hit with the news that Brian “The Honorable Sleaze” Davis, Sr., a staple of the local hip hop scene, died suddenly following complications during surgery.

Co-producer of the now-defunct Just Plain Sounds netlabel, Sleaze was known for his work as a skilled producer and artist. His most recent album, Heavenly/Devilish II: Demons, made waves in the local hip hop community after its release. Sleaze was widely regarded by fellow artists for his influence in the scene.

“I think the things he would say kept the realness in Richmond rap,” said Ant The Symbol, Sleaze’s producer and longtime friend. “It’s insane, you never think these things are going to happen until tragically, they do.”

In his music, Sleaze focused his attention on issues pressing to his community. According to his artist bio, his “everyman” quality touched on complex social issues but extended to all facets of life. His recent work addressed his personal life and its trials and tribulations. –from RVA Magazine, July 10, 2017

Hot Lava, ‘Blue Dragon’ Hot Lava
2009 Bar/None Records

It’s been 3 years of countless laughs and quite a few line-up changes, Richmond, Virginia’s Hot Lava, comprised of Allison Apperson, Jared Sosa, Andrew Mowe and Matt Deans, are finally ready to heat things up. Their multi-layered debut album, Lavalogy, is a unique, conceptual adventure that plays like the musical companion to a satirical and subversive graphic novel.

There is no denying the band’s love-affair with 90’s indie-pop or their 60’s inspired sensibilities, but Hot Lava’s music goes beyond celebrating the past, it gazes into the future with a wide-eye and an endearing, off-beat sense of humor. Whether lead singer Allison Apperson is romanticizing about a spinach-eating blue dragon, or wrestling with technology (Apple+Option+Fire), she and the rest of the boys are focused on smothering their catchy pop vignettes with candy-coated melodies and infectious hooks that are guaranteed to get your temperature rising. –from Bar/None Records

House Of Freaks, ‘Sun Goes Down’ Cakewalk
1991 Giant Records

The creative leap that brought House of Freaks to life in Richmond, Virginia as a duo of guitar/vocals (Bryan Harvey) and drums (Johnny Hott) has become an article of faith for the group. Intelligence, urgency and creative use of guest musicians far outweigh any structural doubt about what properly constitutes a rock combo. (So much for the 21st century modernity of the White Stripes.) Related by scope and approach to the Violent Femmes and redolent of cultural history in much the same way as the early Band, House of Freaks covers a rich and evocative American musical landscape. What makes the group work is not the novelty of the guitar’n’drums lineup, but Harvey’s guitar and vocals, which jump out at you with all urgency and stripped-down emotionalism. Furthermore, Hott’s industrial-strength drumming and Harvey’s terrific songs that draw on American folklore and mythology from the days of the slave trade up through the atomic era make for a winning combination of punch and intelligence. — from Trouser Press

Inquisition, ‘Pulse’ Revolution, I Think Its Called Inspiration
1995 Pop A Wheelie Records

To compose a brief history for those not familiar, I will note just a few things. This album was originally released in 1995 and members went on to form Strike Anywhere (named after one of the songs on the album), Ann Beretta, and River City High. They are cited as an inspiration for the likes of Hot Water Music, Ensign, Dashboard Confessional, Suicide Machines, and Anti-Flag.

Enough of the BS though; how is the album? Forget about 10 years ago; it’s an excellent album right now. It’s hard to avoid comparisons to a more complex version of early Strike Anywhere with Thomas (now singing for said band) at the vocal front here, but it’s interesting to hear what might happen when you take the Chorus of One EP and add even more well-developed ideas both musically and lyrically in the same relatively raw atmosphere. — from PunkNews.org

INTER ARMA, ‘The Summer Drones’ Paradise Gallows
2016 Relapse Records

Few metal bands in recent years have emerged with all their parts so immediately perfected as Inter Arma: every pummeling, slow-as-molasses drum fill; every seasick, punishing guitar solo; every ounce of reverb on Mike Paparo’s pained, death metal howl; every blast of feedback swelling in the mix like a bolt of thunder forecasting a biblical storm. For a band so wild and untamable, every aspect of Inter Arma’s records sounds as if it was deliberated upon and perfected for hours in a studio before reaching our ears. This was true on their 2013 Relapse debut Sky Burial, and it was even truer on their 2014 follow-up EP The Cavern. A single 45-minute track, *The Cavern *showcased a band uninterested in resting on their laurels. They had established a signature sound, with their moody amalgam of death metal, black metal, doom metal, and Southern rock, and were now focused on crafting compositions as interesting and distinctive as their sonics.

Such is the mission statement for Paradise Gallows, an album that finds the Richmond, Virginia five-piece alternatively aiming to be both the world’s heaviest act and also the prettiest— and they don’t waste any time. Brief opening number “Nomini” pairs acoustic fingerpicking with soaring David Gilmour-indebted solos and leads right into “An Archer in the Emptiness,” their most guttural, atonal slab of sludge to date. The juxtaposition of the two songs is an almost too-perfect summation of what Inter Arma is capable of (see also track titles like “Violent Constellations” and “The Summer Drones”), but Inter Arma is too smart to become formulaic. On Paradise Gallows, their songwriting is consistently sharp and challenging, making the album’s 71 minutes of shapeshifting feel not only coherent but also wholly natural and downright triumphant. — from Pitchfork

Ipecac, “The Self-Detonating Nuclear Family,” Tomato Tomato EP
1994 Fountainhead Records

Hi! I’m ATC. A little over 25 years ago I was in a band in Richmond, VA with 3, sometimes 4, of my friends. Back then, if anyone asked about the band, we’d almost always say something self-deprecating in response. We reprinted unfavorable reviews as advertisements. We would directly question the decision-making ability of the people who came to see us, etc.

Truth is, I loved making noise with those guys, and a couple of these songs(?) turned out just about exactly how we wanted them to. I’m glad that it was documented. There are 14 or 15 people who will be happy about this “unearthed” collection. Most are from Richmond’s Southside. Maybe a few from Eastend. A couple outside of DC… one or two in Philly. This is for you guys! To everyone else who stumbles across this… sorry, but watch your step next time.

Thanks! Enjoy! Wash your hands! And please keep your face covered in public… so the rest of us don’t have to cover our eyes! –from Bandcamp

Iron Reagan, ‘Miserable Failure’ The Tyranny Of Will
2014 Relapse Records

Iron Reagan are a Richmond band composed of members from notable crossover thrash groups like Municipal Waste and Darkest Hour. Their latest album is a thirty-two minute blitzkrieg that fires off short, potent riffs at a workmanlike pace, letting the listener sort out the mess for themselves.

A decade after his death (two since he left office), former president Ronald Reagan continues to be a subject of many a musical effigy, but it’s been a while since the hardcore community had him as its muse. Enter Iron Reagan, a Richmond band composed of members from notable crossover thrash groups like Municipal Waste and Darkest Hour, who are the jellybean cowboy’s latest invokers. While their sound places them as political punk in the vein of Wasted Youth or the Crucifucks, Iron Reagan’s lyrical tendencies skew nihilstic and violent with a dash of odd humor. Where Black Flag once instructed the crowd to “Rise Above”, Iron Reagan proudly declare, “I Ripped That Testament a New Asshole”. It’s a shock-driven approach, sure, but when it comes to expressing displeasure with the status quo, have punks ever bothered to clean up nicely and say “please”? — from Pitchfork

J Roddy Rod, ‘Where Da Twerkas At?’ J Roddy Rod
2008 Powerhouse Ent

Having started in the local scene hip-hop scene here in Richmond, J Roddy Rod aka The Twerk God has blown up regionally. Performing at a number of venues and house parties throughout the state and receiving radio play and spins in local clubs in Richmond, Chesapeake, and North Carolina has contributed to the success J Roddy Rod has found. In addition, he also has close to a million views on Youtube for his video, “Where Da Twerkas At?” — from RVA Magazine, June 25, 2013

J Roddy Walston & The Business, ‘Heavy Bells’ Essential Tremors
2013 ATO Records

As a preview for the release of their upcoming, fourth full-length album Destroyers Of The Soft Life, the Richmond, Virginia southern rock four-piece J. Roddy Walston & The Business brought their heavy jams and raging energy to Music Hall of Williamsburg in Brooklyn, NY last week.

The band walked on stage to Tina Turner’s What’s Love Got to Do With It, which not only served as the pump up music but a clear hint at J. Roddy’s passionate belting and power vocal inspiration. Marigold – track two from the bands third album Essential Tremors – was the opener and it blasted off the fast-paced, hard rock J. Roddy style to set the attitude for the night. Walston continued the set with Same Days another song from LP3, and after jumped back to their self titled LP2 for Don’t Break The Needle. Both songs showcase Walston’s wailing, animated vocal performance. — from Thank Folk For That

Jason Mraz, ‘The Remedy (I Won’t Worry)’ Waiting For My Rocket To Come
2002 Elektra Records

Jason Mraz‘s Waiting for My Rocket to Come is a two-part invention. The first level is that of a young, almost compelling, singer/songwriter. Mraz has a nice voice, perhaps a little too articulated at times, which manages to mostly avoid the histrionic despite a predilection towards show tuney melodic turns. His voice tumbles out on top of folk-reggae rhythms that will probably sound a bit dated with time, but his vocals are filled with enough internal rhythms and rhymes to keep them interesting. Lyrically, Mraz relies on cliché to a certain degree, but does so with an earnestness that allows for believability and an eye for imagery that succeeds often enough to suggest that he knows what he’s doing. The second level of Waiting for My Rocket to Come is the production of John Alagía, whose work has enhanced other similar folk-pop fair, including the Dave Matthews Band and O.A.R. His work with Mraz is, at its best, transparent, filling out the songs with subtle and glossy production and instrumentation. Reflections of banjos, organs, mellotrons, lap steels, ukuleles, and others peak out through the shine of the tunes, creating an impact too rich to be written off as lite. — from All Music

Johnny Cigs, ‘Let’s Get It (Prod. by D.R.U.G.S. Beats)’ Lighters and Lightbulbs
2016 Gritty City Records

Originally from Alexandria, Ciggs first came to Richmond from Burke, where he grew up in 2002 as a student at VCU. Years later, he was tired of his job in sales and decided to do an internship at Da Spot Recording Studio.

“I learned a ton of stuff from them. I mean, the way that I go about recording sessions to this day is all based on what they taught me,” said Ciggs. “How to set up sessions and how to record in general, all those things I learned from there.”

As part of his homework for the internship, Ciggs was tasked with recording a song, which would become his first rap project. At the time, he was listening to classic East coast hip-hop from artists like Mobb Deep and Nas, which would continue to influence his work. Much of the subject matter in Ciggs’ lyrics is similar as well, what he would call “braggadocious rappity-rap,” but it also addresses his struggles with alcoholism and mental health issues.

“A lot of my music is more fun if you really listen to what I’m saying. I’m just making fun of myself and the ridiculous and crazy way I used to live,” said Ciggs. “Some days I wanted to die, other days I thought I was living the dream. But really, nothing changed, it was all nonsense.” — from RVA Magazine, November 16, 2020

Jolly Mortals, “225,” Paintscraper
1994 Whirled Records

The Jolly Mortals return from the grave to throw caution and convention aside, leaving their earlier appearance on the ÜB2B vs. the Earth compilation in the dust. These songs are not so metallic, but way groovier. Actually the best two, “4-Ever” and “Bedsores” are on the Bside of the disc, and they alternate between chunky riffs and quiet strumming. The tentative vocals, spastic studio effects, and homemade studio sound give the record (forgive me here) an almost trippy sound, completely unique to Richmond. I wish they had put this out earlier so I would have known to go see them. Readers, learn from my mistakes. –from Throttle Magazine

Jonathan Facka, ‘Tarmac’ Tarmac
2021 Broadcast Recordings

“My name is Jonathan Facka. I’m a singer songwriter from Richmond, Virginia, born at MCV and in 2015 moved to Arizona — I was there for about a year and then I came back. I played clarinet in middle school, and then I transitioned to guitar class in high school. And I just liked it. I didn’t write a real serious song until I was about 27, surprisingly. Basically, a bunch of tragedy happened and I didn’t know I had anything to write about until that. Better late than never.” — from RVA Magazine, July 12, 2021

Jonathan Vassar and The Speckled Bird, ‘Turn to Face The Wind’ Signs & Wonders
2021 Self Released

Whenever I am in need of contemplation, I look no further than Jonathan Vassar and the Speckled Bird. Their new LP doesn’t disappoint, especially with the addition of Paul Watson to the fold. The opening track keeps the familiar aspects of their sound, while incorporating new musical elements that seem to really push The Speckled Bird into the future. As one vignette from this LP, Vassar truly embarks in a literary direction that takes his songwriting up to a whole new level entirely. — from RVA Magazine, January 3, 2013

Josh Small, ‘Say Hello’ Tall
2013 Orchard Music

Throughout this CD, you can’t help but feel that Josh was alone, maybe slightly drunk (in a good way) and on his front porch in VA when writing these songs. Josh’s voice has a feel of despair and hope all rolled into one. When he sings songs like “Come Down,” “Peek Out the Windows” and “Knife in My Belly,” it’s almost as if he’s accepting the pain and putting a positive spin on it, which is what true great artists do.

There are various musicians who contribute to this disc playing drums, violin, congas, upright bass, and piano giving this a feeling of a group of friends getting together and jamming on whatever their heart feels at the moment. A few songs even have a gospel feel to them (“Knife in My Belly”) that could easily be sung during any Sunday mass. The songs all flow together and you can picture a few guys sitting on their front porch playing these songs over and over again. That dirty old Southern gospel feel oozes out of every minute Josh Small is performing. — from PunkNews.org

You can also check out Parts 1 (A-D) 2 (E-J) 3(K-R) 4(T-Z). Enjoy!

Garbers Days Revisited: Inter Arma’s Homage to an Iconic Richmond Music Space

Mitchel Bamberger | June 4, 2020

Topics: album release, bands in richmond va, garbers days revisited, garbers richmond va, garbers rva, Inter Arma, music, new album, new music richmond va, richmond music, rva music

As Inter Arma gears up to release their latest album, we catch up with lead vocalist Mike Paparo for a look into their inspirations on the new cover tracks.

Richmond’s Inter Arma has something new for the city’s music scene, and it’s unlike anything they’ve done before. Garbers Days Revisited is releasing on July 10, and the eight-song cover album is a collection of songs that have influenced the band over the years. Those influences are not necessarily what you might expect.

Along with songs that speak directly to the band’s style, such as the dark groove of “Scarecrow” by Ministry or the aggressive punk of “Hard Times” by Cro-Mags, the album also features artists in a totally different realm of music. A few may come as a surprise to fans and strangers alike, including Tom Petty’s “Runnin’ Down A Dream,” Prince’s “Purple Rain,” and Neil Young’s “Southern Man.”

“We’ve been covering songs for the entire duration of the band,” said lead vocalist Mike Paparo. “‘Southern Man’ we’ve been playing for over a decade — it was one of the first cover songs we did.”

According to Paparo, Petty has been an influence on the band since its inception. Meanwhile, their covers of Cro-Mags, Venom, and Ministry songs speak to their own style of music.

“Years ago, we would do sets where we’d just show up and do punk covers,” Paparo said. “We like all kinds of different stuff… A lot of us listen to metal, but not as much as we listen to something else.”

Garbers Days Revisited offers a window into the world of influence behind Inter Arma’s carefully-crafted sound. The album shows that their inspiration is drawn from a vast array of sources and genres, from the obvious styles of punk, hardcore, and metal to the more obscure notes of classic rock, soul, R&B, and even folk.

“We’re not purists at all,” Paparo said of their wide range of influences. “I’m personally a Neil Young fanatic… I’d like to think there are people who enjoy our band that also enjoy Husker Du and Tom Petty.” Paparo’s personal taste sheds some light on how their “Southern Man” cover was chosen for the record, and it speaks to the greater truth that all musical styles are intertwined and mutually informative.

Although Paparo assured that “there’s no grand artistic idea behind any of it,” there are several layers to this album and its concept. The title Garbers Days Revisited is a reference to Metallica’s 1987 cover album, Garage Days Revisited. Inter Arma’s record highlights their old practice space, Garbers.

“We’re all giant Metallica fans, so we decided to pay homage to [our] building and also to Metallica,” Paparo said.

Inter Arma practiced at Garbers for more than a decade, alongside countless influential Richmond bands like Windhand, Bastard Sapling, Cough, and Parasitic. Some of the covers on Garbers Days Revisited, like “Southern Man,” were learned during their time at the space, and their EP, Destroyer, was recorded there.

“It was like our holy ground,” Paparo said. “Garbers was a fixture around Richmond for a long time. Those were the founding years of Inter Arma… Some nights you’d go up there, and there would be ten bands on the floor just hammering it out.”

The chaotic atmosphere at Garbers created an outlet for Richmond bands to learn, record, and even work on their equipment.

“Every floor had a billion bands. There were recording studios, a guy that fixed guitars and amps, every kind of band you could imagine. That place was kind of anarchy at points,” Paparo reminisced fondly. “It was definitely a bummer for the Richmond music scene [when it closed].”

When the band decided to create Garbers Days Revisited, Inter Arma’s recording process and concept reflected their long history of covers.

“The whole thing for us was just to have fun with it,” Paparo said. “We’ve been covering songs for so long as a band, and thought, ‘We should record some of these.’ I’m sure there are going to be people who don’t like it… that’s cool. We just do whatever the hell we want to do.”

His answer is sure to please their punk and hardcore forefathers. Garbers Days Revisited was recorded in September 2019, before the current coronavirus pandemic extended its reach into America. Paparo went on to explain that the timing of the release is actually fortuitous for the band.

“We’re putting something out in a year where we are 95 percent sure we’re not going to play another show that year,” he said. Garbers Days Revisited gives fans something to chew on in the meantime, until Inter Arma can storm the stage once again.

“We hope people get some kind of enjoyment out of it, considering the madness we are currently living in,” Paparo said.

Established fans of Inter Arma are sure to find that enjoyment — and the band might just pick up new fans with their unique versions of songs that many already know and love.

Inter Arma has delivered once again, this time with a fresh perspective on classics spanning several genres. Garbers Days Revisited offers a glimpse into the creative process, along with an opportunity to better understand one of Richmond’s favorite contemporary metal bands.

For more updates before Inter Arma releases Garbers Days Revisited, keep up with them on Facebook and stream their music on Bandcamp.

Top Photo courtesy Inter Arma/Stephanie Marlow Publicity

VA Shows You Must See This Week: December 11 – December 17

Marilyn Drew Necci | December 11, 2019

Topics: Ages, Alan Parker, Andrew Randazzo, Archbishop, Aster, Bar Stool Preachers, Chicho's Backstage, Deli Kings, Demons, Devonne Harris, EdHochuli, Films On Song, gallery 5, Gardener, Ghost Of Pop 2019, Hardywood, Incantation, Inter Arma, Isabella VanKesteren, Jackson Shurlds, Little River Creek Police, Manas, Marcus Tenney, Mojo's, Morbid Angel, Palm Palm, Poor Boys, Prabir Trio, R4nd4zzo & Co, Righter, Saw Black, Sean K. Preston & The Loaded Pistols, Shockoe Denim, shows you must see, Sid Kingsley, Silent Music Revival, Single Use Plastic, Strike Anywhere, Taphouse Grill, The Broadberry, The Camel, Watain, Yeni Nostalji

FEATURED SHOW
Friday, December 13, 7 PM
Ghost Of Pop 2019, feat. Palm Palm (Photo by Ashley Travis Photography), Deli Kings, Saw Black, Prabir Trio, Aster @ Gallery 5 – $5 in advance/$10 at the door (order tickets HERE)
I don’t think it’s arguable that we’re right in the thick of the holiday season at this point, folks. Christmas is two weeks away, New Year’s Eve and an end to 2019 a week beyond that. Everyone’s cramming the big-box stores, shopping malls, and post offices to take care of last minute present-related needs, and then heading out to a whole passel of big year-ending shows once night falls. There are a ton of those big shows happening this week — more than I had room for in this column, by a good bit. However, in a week that also features the annual South Hill Snowdown, yet another two-night helping of Punks For Presents, and the annual No BS! Brass food drive at the Broadberry, it seemed most important to me to tell you about Ghost Of Pop at Gallery 5.

Ghost Of Pop is an annual throwdown that is the brainchild of Prabir Mehta, a guy who’s been making all sorts of musical, artistic, and scientific things happen around this town for well over a decade now. Every year, he brings together a solid collection of Richmond musicians to present their varying takes on what it means to play “pop music” in the 21st century. The bands are joined by a ton of holiday vendors and a proper holiday party, featuring drinks, photo booths, and a whole ton of holiday cheer to make the entire evening far more memorable than just another local-band showcase.

This year, Ghost Of Pop is headed up by Palm Palm, a band that, on the heels of J. Roddy Walston & The Business’s last show for the foreseeable future two weeks ago, becomes by default the main project J. Roddy is working on. Also featuring members of The Trillions, The Southern Belles, and The Milkstains, among many others, this band has a pedigree sufficient to guarantee a great rockin’ time for all when they’re onstage. We’ll also get a set from local singer-songwriter Saw Black; in light of the season and his recent release of a proper Christmas album, it seems likely that we’ll be getting a holiday-centric set from this fine fella, and that’s sure to be a lovely treat. Of course, Prabir’s current project, the Prabir Trio, will be on hand to present their anthems in praise of Bamboo Cafe and others, while appetite-driven rock n’ rollers Deli Kings and youthful bedroom-pop project Aster round out the bill in outstanding fashion. Head to Gallery 5 this Friday night and get in the spirit.

Wednesday, December 11, 8 PM
R4nd4zzo & Co, feat. Andrew Randazzo, Marcus Tenney, Jackson Shurlds, Alan Parker, Devonne Harris @ Poor Boys – $5
This time of year, the main place you’d expect to encounter bassist extraordinaire Andrew Randazzo is at the head of his R4ND4ZZO Bigband playing classic Vince Guaraldi compositions from the Charlie Brown Christmas soundtrack. Rest assured, he and his many compatriots are still doing that this year, and you can catch them at least once more between now and December 25 if you play your cards right. But this show is another matter entirely, and it’s a chance to see Andrew Randazzo do what he does best the other 11 months out of the year.

This evening finds Randazzo heading up a jazz quintet that will bring him together with a couple of his bandmates from Butcher Brown as well as several other Virginia jazz heavyweights of his generation. Expect things to be loose and unscripted, but not aimless or boring — all of these musicians are experienced with improvisation and are sure to bring some outstanding sounds to the back room at Poor Boys. If you want to know what’s going on with jazz here in Richmond, this is the place to be tonight. You know what to do.

Thursday, December 12, 7:30 PM
Manas, Gardener @ Shockoe Denim – $10
Here’s an intriguing musical prospect brought to us by Little Dumbo, the experimental music aficionados who’ve been presenting delightfully unexpected evenings of unusual sounds around town for the past couple of years now. This time around, they’re bringing the North Carolina-based duo Manas to Shockoe Denim, and there’s no doubt that the expensive jeans will be threaded just a little differently when the evening is done.

Manas features Bhutanese guitarist Tashi Dorji, who came to the United States as a teenager, cut his teeth on the wild, politically-driven hardcore of bands like His Hero Is Gone, then moved in an experimental direction. He collaborates in Manas with drummer Thom Nguyen, an experienced noise-rock veteran, and the two of them combine abstract free-jazz improvisations with raging noise explosions in a manner that generates a great deal of fantastic tension and will leave listeners on the edge of their seat to see what this group of talented musicians will do next. You won’t know unless you’re there, so plan your Thursday evening now, because you don’t want to miss this.

Friday, December 13, 6:30 PM
Little River Creek Police, Righter, Sid Kingsley @ Hardywood – Free!
December can be a bit rough sometimes; what money you don’t have tied up in keeping the lights on and the rent paid gets eaten up by Christmas shopping, and the next thing you know, you’re sitting home every night watching Christmas specials from the 80s on YouTube because you can’t afford to go out. Well, we certainly know your pain on this one, but this Friday night, you’re in luck, because there’s a free show happening at Hardywood that would be worth your time even if you had to pay for it.

Little River Creek Police are celebrating the release of their latest single, “Yuri,” at Hardywood this Friday night. Following up their debut EP, Quiet The Ruckus, this catchy new tune finds the trio moving in a more immediate direction that adds some rough-n-ready folk-punk appeal to their jangly pop sweetness. Their set at Hardywood is sure to keep your feet moving, and you’ll be lucky enough to get sets from local indie mainstays Righter and Sid Kingsley in the bargain. See? There are still things to go out and enjoy even if you did spend your last dollar to send your mom a Christmas card. Now go enjoy yourself.

Saturday, December 14, 9 PM
Edhochuli, Inter Arma, Archbishop @ Mojo’s – $10 suggested donation
I love it when hardcore bands stick around for over a decade. The main reason I say that is because it’s always intriguing to see the ways a group evolves in a genre where most bands don’t even make it to a second album before falling apart. Edhochuli, who take their name from the most muscular referee in the world of pro football, have been cranking out excellent chaotic hardcore from the land of Pittsburgh for a very long time now, always with excellent results — results which seem to get heavier and more epic in scope with each new release. Their most recent is 2015’s Dream Warriors LP, so at this point it’s high time for them to bring us something new, and we can certainly hope they’ve got a bunch of new songs in their quivers for this performance.

Meanwhile, Inter Arma has been blazing an epic metallic path of their own for over a decade themselves, remaining ambitious and creative on their fourth full-length, Sulphur English, released earlier this year. Their tendency toward long, slowly evolving songs that build toward head-crushing crescendos remains intact on their latest release, and the members’ incredible talent at their instruments remains one of the key reasons to see this band live. This show’s pairing of them with Edhochuli makes this an unbeatable evening of heavy music, and the addition of relative newcomers Archbishop — which features ragers from local groups like The Skin and Memory Loss — will only serve to sweeten the pot that much more.

Sunday, December 15, 7:30 PM
Silent/Music Revival, feat. Yeni Nostalji @ Gallery 5 – Donations appreciated
Silent/Music Revival is a storied institution in the world of live music around Richmond, and another installment of this long-running series is always a welcome treat. Coordinated by Jameson Price of Lobo Marino, Silent/Music Revival pairs a local musical project with a silent move they’ve never seen before, for which they improvise a soundtrack on the spot. This Sunday night’s film is The Wild Cat, a 1921 German silent film directed by Ernst Lubitsch. The director was at the dawn of his career when he made this film, and went on to gain fame as a director of uniquely sophisticated comedies of manners in the early sound-film era.

The group paired with The Wild Cat on this occasion is Yeni Nostalji, a Richmond-based ensemble led by singer-songwriter Christina Marie Gleixner. Born in America, Gleixner nonetheless was so strongly influenced by Turkish pop of the 20th century that she decided to create music in that idiom, singing in Turkish and playing songs that have a decided Eastern European influence in Yeni Nostalji. That influence shows through in the lush continental pop of their self-titled 2018 LP, and it’s sure to appear in the soundtrack they create for The Wild Cat as well. The combination of the two will provide a warm and sweet experience for your Sunday night. And if you stick around afterwards, Gallery 5 will also present a holiday-themed installment of Strange Projections, the VHS-driven experimental video montage experience. There’s no better way to wrap up your weekend.

Monday, December 16, 8 PM
Morbid Angel, Watain, Incantation @ The Broadberry – $30 in advance/$35 day of show (order tickets HERE)
Mondays are for metal, just like every day that ends in Y, and this week brings us a particularly metallic Monday with the arrival of three titans of death and black metal to Richmond’s own Broadberry. At the top of the list are those Floridian pioneers of death metal, Morbid Angel, who’ve been raging hard and heavy since well over 30 years ago. Lead guitarist Trey Azagthoth is the only remaining original member at this point, but the group currently features Steve Tucker on bass and vocals once again. Tucker, who previously fronted the band in the late 90s and early 00s, returned for 2017’s Kingdom Disdained, the 11th album to continue Morbid Angel’s tradition of releasing LPs in alphabetical order.

Like the band’s three previous albums fronted by Tucker, Kingdom Disdained is a dark, complex slab of metallic heaviness that stands strong alongside classics like Blessed Are The Sick, Formulas Fatal To The Flesh, and the almighty Altars Of Madness. With the embarrassment of riches within their catalog, Morbid Angel are sure to craft a set of pure devastation from their headlining spot on this bill. However, not to be outdone, Swedish black metallers Watain come to Richmond fresh off 2018’s triumphant Trident Wolf Eclipse LP, and their notoriously bloody live performance is sure to be quite the spectacle as well. Legendary New York death metallers Incantation will round things out with their fiery, brutal take on the genre, and are sure to get the heads banging as soon as they hit the stage. This one’s gonna rip.

Tuesday, December 17, 7 PM
Ages, Films On Song, Isabella VanKesteren @ The Camel – $5 (order tickets HERE)
This Tuesday night of locally-based music is another bargain for all you deal-hunters out there, as it affordably provides you with the opportunity to check out Ages, the latest project from the fertile mind of Richmond musician Age Shurte. Previously of Magnus Lush and quite a few other groups, Shurte now joins with musicians from such leading lights of Richmond rock as Dumb Waiter, Piranha Rama, and New Lions to bring us another wonderful helping of entrancing, powerful rock.

Well, that’s really just my best guess — as far as I can tell, Ages don’t have any music online as yet, and they haven’t played many shows either. But in light of all the talented RVA music vets involved with this project, I’m more than willing to blindly recommend checking them out. With melodic Charlottesville postpunks Films On Song and hypnotic Richmond singer-songwriter Isabella VanKesteren on the bill as well, this evening is sure to be worth way more than the five measly bucks they’re charging you to get in.

Elsewhere Around The State:

Friday, December 13, 9 PM
Sean K. Preston & The Loaded Pistols @ Taphouse Grill (Norfolk) – $5 in advance/$8 day of show (order tickets HERE)
When you’ve named your band The Loaded Pistols, it’s hard for you to fade into the background as an artist, but one listen to Sean K. Preston’s 2018 LP, Forgive, lets you know that fading into the background is the last thing this Baltimore singer-songwriter wants to do. On tracks like “Last Call,” the opening “Barnburner,” and “Snakeskin Boots Boogie,” Preston and his Loaded Pistols draw from the most evocative aspects of mid-20th-century country music, pre-war blues, early rock n’ roll, and dark troubadours like Leonard Cohen and Nick Cave. With all those influences in tow, they create a spooky, dramatic sound that mixes all those styles together and is sure to appeal both to fans of rock n’ roll wildmen like the Gun Club and Reverend Horton Heat and country outlaws like Merle Haggard and Johnny Cash.

So if that sounds like something that’ll appeal to you, you certainly should make it your business to come to Norfolk’s Taphouse on Friday night and enjoy some high-energy sounds from Sean K. Preston & The Loaded Pistols. Sure, it’s the start of the weekend, there’s a lot more you could be doing, but really, can’t the Christmas shopping wait until Saturday morning? After seeing Preston and co. you’ll go all the way home with a smile still on your face. Can you really say the same thing about the holiday crowds at the mall? You know the answer as well as I do.

Sunday, December 15, 7:30 PM
Strike Anywhere, Bar Stool Preachers, Demons, Single-Use Plastic @ Chicho’s Backstage (Norfolk) – $17 in advance/$20 day of show (order tickets HERE)
Strike Anywhere is from Richmond, and what’s more, they are one of the best melodic hardcore bands this town has ever produced (Avail’s their only real competition… yeah, I said it). So if you want to see them in both your and their hometown, I certainly understand that. However, the Richmond date on this particular tour finds Strike Anywhere opening for the Bouncing Souls’ 30th anniversary tour at The Broadberry — and right now, as I write, that show is already sold out. If you didn’t grab those tickets, you’re going to need to make the drive down 64 East to catch Strike Anywhere this time around.

And let me tell you, it’s worth doing. While it has at this point been an entire decade since we last got some new studio material from these guys — 2009’s Iron Front — classic singalongs like “Sunset On 32nd,” “Blaze,” and “Chorus Of One” do not diminish with age. Raising your voice to scream along with Thomas Barnett — a dude who remains a tremendously energetic frontman — is not going to feel any less powerful now than it did in years past. And you know you want to feel those feelings one more time. So do it — get your tickets, gas up the car, and make the drive. You’ll never regret it for a second.

—-

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

The Last Days Of Strange Matter

RVA Staff | December 18, 2018

Topics: Bat, Battlemaster, Black Tusk, Humungus, Inter Arma, Iron Reagan, Julie Ferguson, Negative Approach, strange matter, Unmaker, Windhand

This month, Richmond’s music scene felt the pain of saying goodbye to one of its central gathering places. For a decade now, Strange Matter has been the most reliable location for live music in Richmond. It set itself apart with a focus on local favorites and underground scenes. Strange Matter supported the grass-roots music scenes that have put Richmond on the musical map over the past decade, from indie rock and hip hop to doom metal and hardcore punk. How this town will cope with its departure is a mystery, and a subject for concern as we head into 2019.

Our full memorial to Strange Matter will hit the streets later this week in our new print issue, and we’ll have that story for you in digital form sometime after Christmas. But today, we bring you one last look at the magnificence that was Richmond’s most beloved club, shot by photographer Julie Ferguson over the last two weeks of Strange Matter’s existence. Keep the memories close to your heart.

Words by Marilyn Drew Necci, Photos by Julie Ferguson. Top photo: Inter Arma

VA Shows You Must See This Week: November 28 – December 4

Marilyn Drew Necci | November 28, 2018

Topics: Accident Prone, Alex Jonestown Massacre, American Television, Battlemaster, Black Tusk, Bottled Up, Broadside, Buzzard Dust, Charlie's American Cafe, Cryptodira, Doll Baby, Dominion Energy Center, Doomsday Lullaby, Drug Church, Earthling, Ghost, Gouge Away, Gumming, Hardywood, Hoboknife, Humungus, Inter Arma, Kaonashi, Lala Lala, Loud Night, Manatree, missangelbird, Negative Approach, Nhibitions, Prayer Group, Raven, Riffhouse Pub, Seattle's New Gods, Serqet, Shadow Age, shows you must see, Sleep On It, Slump, Small Talks, Songe, Split Wrist, strange matter, stray fossa, The Astral Void, The Broadberry, The Camel, The Canal Club, True Body, Twin Drugs, Unmaker, Vatican, WHY?, With Confidence

FEATURED SHOW
Tuesday, December 4, 6 PM
Negative Approach, Battlemaster, Shadow Age, True Body, Slump, Unmaker, Serqet, Gumming, Loud Night @ Strange Matter – $15 (order tickets HERE)
The holiday season is here, but for the Richmond music scene, it’s a sad time, as perhaps our most reliable mainstay for live music over the past decade is going away. However, while it’s hard to think of how we’ll get by without Strange Matter in 2019, the venue’s imminent closing seems to have created an absolute bonanza for people who love seeing awesome bands. Between now and their final closing on December 15, they’ve booked a whole passel of action-packed, star-studded farewell shows to close out their time on a high note.

Indeed, there are so many that I couldn’t possibly fit all of the worthy bills happening at Strange Matter this week into this show column without ignoring some really great shows happening around town elsewhere. But rest assured, if any of the following picks isn’t in your lane, there’s probably something amazing happening at Strange Matter that night — check out the full schedule from now til their last night over here.

All that being said, I couldn’t possibly avoid mentioning this show. It was already stacking up to feature an abundance of excellent local bands from a variety of genres… and then Negative Approach came calling. This legendary first-wave US hardcore band came roaring out of Detroit in the early 80s with an amazing treasure trove of hardcore bangers that made their debut EP and Tied Down LP classics of the era. These days, vocalist and human whirlwind of rage John Brannon keeps the band alive in the company of the band’s original drummer, plus former members of fellow hardcore legends The Necros and Easy Action on bass and guitar.

And believe me, when they hit the Strange Matter stage, they’re going to rip your fucking head off. And yes, I intend that as a very high compliment. If you haven’t seen the reunited Negative Approach on any of their previous trips through Richmond, this is the time to make it happen. After all, you’ll not only be getting to see John Brannon go wild up close and in person, you’ll be celebrating the past decade of greatness Strange Matter brought to us, and in the company of some of this town’s best local bands. Its brought Shadow Age back from their recent retirement to play their first-ever set as a quintet, the dynamic psychedelic-postpunk duo of True Body and Slump are both on the bill, Unmaker’s fresh off the release of their new album and ready to lay you flat with Killing Joke-style heaviness… and there’s a whole lot more. I’ve already taken up too much space saying even this much. Just go.

Wednesday, November 28, 6 PM
Broadside, With Confidence, Sleep On It, Small Talks @ The Canal Club – $15 in advance/$18 at the door (order tickets HERE)
Broadside have been at it for a long time here in Richmond, and they’ve been through a lot during their decade or so of existence as a band. In fact, no one we talked to for our first interview with Broadside back in 2011 is even still in the band — so that should give you an idea. However, since singer Ollie Baxxter joined the band in 2013, they’ve had a standout sound that sets them apart from the pop-punk pack and helped get them signed to Victory. Second LP Paradise showed them branching out in their sound, increasing the emphasis on melody as Ollie grew as a vocalist and showed off some teen-idol vocal chops.

But rest assured, this band still packs the sort of punch you’ll need to get you jumping and dancing even as you sing along to all those heartbreaking lyrics we’ve all memorized alone in our rooms late at night. And they’re coming to town with Australians With Confidence, who have a similarly sure-footed approach to melodic, emotional punk sounds, though these guys are more on the emo tip than Broadside’s whole post-easycore approach. New album Love And Loathing is an excellent listen, and the band will bring all those tunes to life in glorious Technicolor when they hit the Canal Club stage. Wear your basketball shoes for this one, because the club is gonna be jumping.

Thursday, November 29, 8 PM
Manatree, Stray Fossa, Bottled Up, missangelbird @ The Camel – $5 in advance/$7 at the door (order tickets HERE)
If you’d like a one-night crash course in what’s going on in the indie scene around VA, you can’t do much better than this show at the Camel. Your star attraction, as it’s been so many times, is Manatree, a group that started out as bouncy teenagers but have grown up, matured, and been through some lineup shifts in order to evolve into their current form. They’ve developed a new approach that moves away from the alt-rock and emo tinges they had on earlier material in favor of delicate, mathematically complex precision, which they showed off on Engines, the full-length they released this past summer. If you haven’t caught them live since 2016 or so, rest assured, a lot has changed — and in good ways.

To our west up 64, Stray Fossa has been putting together some excellence of their own of late, releasing debut EP Sleeper Strip earlier this fall to give us all a taste of their pensive UK-style tuneage. It borders on shoegaze, but the way frontman Nick Evans’ voice sits above the multi-layered guitars is so strong and assured that the end result is closer to pre-shoegaze UK guitar slingers like House Of Love and The Chameleons. DC’s Bottled Up let loose with a bit more distortion than the two previous bands we’ve discussed, but there’s a great deal of space in their sound nonetheless, and delicate, bouncy pop is ultimately the best way to describe their music. Recent EP BU2 is a lot of fun, and their performance at this show seems certain to be as well. Finally, Harrisonburg’s missangelbird, which grew from a series of quiet solo demos into a softly powerful indie-folk trio over the past few months, opens up, easing you into a night of lovely sounds from around the state. Don’t miss a moment.

Friday, November 30, 7 PM
Drug Church, Gouge Away, Seattle’s New Gods, Twin Drugs @ Strange Matter – $12 (order tickets HERE)
Just to show you a little bit about how the sausage is made: this double-headline bill was a major candidate for Featured Show this week. I couldn’t deny the outstanding nature of the Negative Approach show, but it in no way reduces the greatness this truly stacked lineup has to offer. Drug Church and Gouge Away have both released new albums this year, and both of them show some major growth. Drug Church’s third LP, Cheer, just came out and finds this crunching (post?) hardcore band dishing out their usual top-quality distorted midtempo riffs, only now with a slight undertone of minor-key melody that increases the emotional quotient even as lead vocalist Patrick Kindlon (also of Self Defense Family and the Axe To Grind podcast — yeah, you know this dude) is still blasting you with his usual acerbic wit and cutting insights into the darker sides of human character.

Drug Church have always had a lot to offer, and seeing them on this tour is sure to make that clear. But don’t get too excited about them and miss out on their touring partner — Gouge Away’s new LP, Burnt Sugar, is clearly the best thing this already shit-hot band has done. It finds them cleaning up their sound but continuing to lean into their driving, furious punk rock sound, with the end result landing somewhere between the excellent emotional hardcore of Xerxes circa Collision Blonde and White Lung at their career peak (that being the “Blow It South” single). Both of these bands are guaranteed to offer powerful live performances that you won’t soon forget, and openers Seattle’s New Gods and Twin Drugs only make this show even cooler and more interesting. Get there.

Saturday, December 1, 6 PM
Inter Arma, Black Tusk, Earthling, Humungus, Hoboknife, Buzzard Dust, Prayer Group, The Astral Void @ Strange Matter – $15
OK I can’t talk about ALL of the Strange Matter farewell shows, but some of them definitely need specific mention, and this is one of them. This one is for all the kids who wear old faded metal t-shirts with the sleeves cut off all summer, and denim vests covered in patches all winter. It’s the perfect evening for people who like the idea of doom metal, but prefer bands to be too creative to fall squarely within that genre’s rather narrow borders. That description perfectly fits headliners and local metal legends Inter Arma, who have shown us over their decade-plus career that they are equally skilled at all genres of metal, and are willing to fit pieces from the majority of them, as well as some completely uncategorizable elements, into any given song of theirs. And it always rules.

But there are a ton of other bands on this bill, and all of them deserve your attention, especially Black Tusk. This Savannah, GA band has persevered despite tragedy, returning this year with TCBT, their first album since the death of founding bassist Jonathan Athon. The album’s unrelenting heavyosity makes clear that these guys still have an immense amount of metal power running through their veins, and their set at Strange Matter should make it even clearer. Of course we’ll get a ton of other great metal from around the state on this bill, from Earthling’s blackened crust rage to Humungus’s power-metal triumph and the psychedelic noise of The Prayer Group. Plus more! Get that vest out and let’s rage.

Sunday, December 2, 3 PM
Doll Baby, American Television, Alex Jonestown Massacre @ Hardywood – Free!
It’s always fun to visit Hardywood on a Sunday afternoon when Handmade Holiday is in full swing. Tons of crafters, artists, and other local vendors will be on hand to offer you an artisanal alternative to the Christmas gifts the big-box stores are all pushing this year. And what makes this Sunday afternoon’s Handmade Holiday presentation even cooler is the presence of three excellent bands to liven up your afternoon and give you sounds to tap your foot to as you browse through the tents and get some holiday shopping done.

American Television are the out-of-towners, but they’re from just up the road in DC, and they’ve got a great sound that will find a home in RVA’s heart for sure. The “Death Defier” single they released this summer, which was sold in conjunction with a signature dark roast coffee if you can believe that, has the kind of caffeinated rush you’d expect from a melodic punk band with an addiction to the dark nectar of the bean. The signature roast is sold out, but they’ve still got plenty of killer tunes to deliver to you this Sunday afternoon, as do local favorites Doll Baby and up-and-coming young band Alex Jonestown Massacre. It’s free, it starts at 3 PM, there are food trucks where you can score a late brunch, and you can get all your gift-shopping done in one place. What more could you ask for?

Monday, December 3, 7 PM
WHY?, Lala Lala @ The Broadberry – $15 in advance/$20 day of show (order tickets HERE)
Remember when people used to talk about “backpacker hip hop”? It doesn’t get brought up as much now, but all that stuff released during the 00s on Anticon, Definitive Jux, and similar labels had a real effect on the culture and stretched the sounds and ideas of hip hop into new realms. Why?, a group formed by former cLOUDDEAD rapper and Anticon all-star Yoni Wolf in the mid-2000s, was a big part of that expansion. The project started as a de facto solo thing for Wolf, but soon evolved into a four-piece band that incorporated guitars, keyboards, and drums into a sound that was almost closer to indie than anything anyone would expect from a project associated with the hip hop genre.

But Wolf was still rapping over it all, and it created an intriguing fusion, one that Why? were largely responsible for creating, most prominently on their landmark 2008 album, Alopecia. You might hear about the fusion of rap and rock and think cringingly of Limp Bizkit, but Why?’s sound was about as far as you could get from that, accentuating Wolf’s thoughtful lyrical pensiveness with a quiet, contemplative indie sound that fit in well with groups like the Silver Jews — who Why? actually toured with back then. And they made their mark on a whole generation of music lovers, from hip hop heads to indie kids and everything in between. On this 10th anniversary tour for Alopecia, they’ll be bringing all those fans into the same room once again, and it’s sure to blow your mind whether you were there for the first go-round or you’re just discovering Yoni Wolf and his excellent band today. It’s something you need to see.

Tuesday, December 4, 8 PM
Ghost @ Dominion Energy Center – $39.50 – $79.50 in advance (order tickets HERE)
Nearly a decade after their formation, Sweden’s Ghost remain a very interesting band. Their theatrical Satanism, always exemplified by elaborate characters and onstage costumery, took a bit of a hit after legal action by former members of the group revealed the identity of mastermind Tobias Forge. Forge has actually been the band’s frontman throughout the many transferrences of the vocal position between different characters over the years, and he’s portraying yet another new character on the current Ghost tour — Cardinal Copia, a break from the Papa Emeritus lineage.

However, neither official character changes nor demystification has slowed Ghost down one bit. While their image might lead you to expect King Diamond/Cradle Of Filth-style theatrical thrash, their music has always hewed to a more classic proto-metal sound in line with late 60s-early 70s pioneers like Covenant, Bloodrock, or Blue Oyster Cult. That remains true on Prequelle, their latest offering, which carries their spooky, organ-fueled sound forward into a haunting, multi-layered extravaganza. It’s a bit late in the holiday season for Ghost’s current tour to arrive in Richmond — Halloween would have been much more appropriate — but with two full sets of excellent music and an incredible stage show, we’d be total grinches to complain.

Bonus Hampton Roads Picks:

Wednesday, November 28, 7 PM
Kaonashi, Cryptodira, Vatican, Accident Prone, Nhibitions, Split Wrist @ Charlie’s American Cafe – $10 in advance/$13 day of show (order tickets HERE)
It’s been nice to see a new generation of metallic hardcore kids who aren’t afraid to embrace the influence of nu-metal on their music. Because the fact is, the best of those bands had a lot to offer. When PA metalcore maniacs Kaonashi hit us with unabashed Slipknot and Mudvayne influences on their latest EP, Why Did You Do It?, it demonstrates clearly what sort of value can still be gained from those angst-ridden late-90s thrashers who loved tuning down and sporting eyeliner. Kaonashi songs like “My 5 Year Plan” and “You’ll Understand When You’re Older” mix the out-of-control moments of emotional meltdown that marked the best nu-metal into a recipe cobbled together from the best elements of deathcore’s downtuned thud and the gothic emo-prog of groups like Chiodos and Coheed And Cambria.

Kaonashi aren’t alone in following this thread to wherever it leads them — Sworn In has done quite a bit with it over the past few years, and Vein are certainly dipping a bit more than just a toe into the nu-metal pool on their new album. But Kaonashi’s new EP shows that they’re on the forefront of this musical territory, and they are sure to take it to another level entirely in the live arena — making attendance at this Charlie’s American Cafe show tonight all but mandatory (assuming you can make the drive). New Jersey’s Cryptodira are also on this bill, bringing an erudite take on progressive death-metalcore to the table, as showcased on 2017’s excellent The Devil’s Despair. Straight edge metalcore thrashers Vatican, who hail from Georgia, will also hit the stage with metalcore fury that harkens back to the genre’s 90s roots (so you know I’m stoked). All that plus three heavy-as-fuck local openers… gas up the Mustang, y’all. We’re going.

Thursday, November 29, 8 PM
Raven, Songe, Doomsday Lullaby @ Riffhouse Pub – $10
In a world where it seems musicians spend just as much time reinventing the wheel as they do building on the traditions of those that came before, it’s no surprise that some younger metal fans today don’t even remember the legends of the early 80s “New Wave of British Heavy Metal” scene. But that doesn’t make it any less vital, essential, and important to everything that followed. You might not know the name Raven as well as you do other legendary NWOBHM acts like Iron Maiden and Motorhead, but they’re every bit as good, and if you value the history of the music you love, you need to be paying attention.

Raven’s probably best known today for their mid-80s albums — 1983’s All For One featured a song called “Athletic Rock,” in which Raven named their own musical genre years before the “active rock” format was even a twinkle in a Clear Channel exec’s eye, while 1985’s Stay Hard produced their biggest hit, “On And On.” Three decades later, though, Raven’s founding Gallagher brothers, bassist John and guitarist Mark, are still going strong, and 2015’s ExtermiNation showed that they’ve still got the furious metal power they wielded at the height of their fame. So get a history lesson at Riffhouse Pub tomorrow night, and let Raven show you that metal was heavy as hell even before you were born.

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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] [and yeah, there’s plenty more of my writing to read over at GayRVA — come say hey.]

Music Sponsored By Graduate Richmond

VA Shows You Must See This Week: August 29 – September 4

Marilyn Drew Necci | August 29, 2018

Topics: Big No, Book Of Wyrms, Caterpillar Trap, Cole Hicks, Dead Boys, gallery 5, Genocide Pact, Ghost Wolves, Hardywood, Holly Golightly & The Brokeoffs, Inter Arma, joey gallo, Kenneka Cook, Mister Moody, Norfolk Nightmares, North By North, Ohmme, Pain In The Yeahs, Paint Store, Renata Zieguer, Sammi Lanzetta, Serqet, Shadow Age, shows you must see, Sinister Haze, Slaughter Beach Dog, Solace Sovay, strange matter, Taphouse Grill, The Breach, The Camel, The Cazz, The Muslims, The Nerve Scheme, The Shangri-Lords, Thin Lips, Tinnarose, Toke, Valkyrie, Widow Rings

FEATURED SHOW
Friday, August 31, 8 PM
Inter Arma, Valkyrie, Genocide Pact, Paint Store @ Strange Matter – $12 in advance/$15 day of show (order tickets HERE)
The summer is drawing to a close. The fall semester is starting, Labor Day is upon us, and the constant stream of awesome shows that makes summertime one of the most fertile periods of live music all year is starting to wind down. Never fear, though — Strange Matter always has you covered, and this Friday night they’re joining up with beloved Richmond metal veterans Inter Arma to bring you a night of outstandingly heavy sounds that’ll keep your weekend feeling as filled with rock as any weekend you’ve had this summer.

It’s been a couple of years since Inter Arma laid their last full-length slab of epic, ultra-powerful metal rage on us in the form of 2016’s Paradise Gallows. However, the word is that they’ve got another one in the can, so you can expect some fresh new jams from this creative quintet to level your mind once more. And considering their tendency to write veritable symphonies of metal riffing, even one new song will probably have enough going on to bring you at least a dozen killer new parts to get stuck in your head all weekend.

The rest of this bill is made up of friends and labelmates that Inter Arma is particularly delighted to bring to their fans. Foremost among those is Valkyrie, who may be better known for guitarist Pete Adams’ decade-long tenure in Baroness, but have distinguished themselves as a brilliant provider of heavy stoner-doom grooves for over 15 years now, most recently with their 2015 LP Shadows. Now that Pete is no longer performing with Baroness, it seems likely that this revitalized crew will be bringing us some previously-unheard awesomeness of their own, so get stoked! DC’s Genocide Pact are also on the scene with some dark and grimy biker-thrash sounds, as documented on their recent LP, Order Of Torment. And of course, RVA instrumental math-rockin’ trio Paint Store will kick it all off with some unpredictable but excellent tunes. Take heart, Richmond — your weekend’s still gonna start off right!

Wednesday, August 29, 7 PM
Slaughter Beach Dog, Thin Lips, Sammi Lanzetta @ Strange Matter – $13 in advance/$15 day of show (order tickets HERE)
It’s been a while since Modern Baseball went by the way side, and since the release of the second album by former Modern Baseball singer-guitarist Jake Ewald’s new band, Slaughter Beach, Dog, it’s started to seem like Ewald’s found a voice of his own, separate from the emotional pop-punk of his previous band. That’s not to say that Slaughter Beach, Dog isn’t emotional — even with a goofy name like that, there’s a very sincere feeling behind the songs on 2017’s Birdie that make clear that this band is no joke. What started as an outlet for a bit of a different approach than that of Ewald’s old band has become a fully independent project — and an excellent one at that.

Slaughter Beach, Dog’s most recent album finds the group exploring a variety of sounds, from softly-spoken acoustic folk to melodic, emotional indie sounds, even veering occasionally into country territory. Fans of everything from The Weakerthans to Hop Along to Sun Kil Moon will find something to enjoy from Slaughter Beach, Dog’s live incarnation, which is quite sure-footed considering the solitary origins of the group. Fellow Philadelphians Thin Lips will accompany the Slaughter Beachers down to RVA and bring us some pretty amazing pop sounds of their own, though Thin Lips certainly have a more overt wit, as well as a harsher edge to their catchy riffs. They show this off in noteworthy fashion on new LP Chosen Family, and the highlights from that album are sure to pick up some new RVA fans when they’re aired out onstage at Strange Matter tonight. Local phenomenon Sammi Lanzetta kicks off the show with some unmissable tunes that RVA music lovers should already be quite familar with — and if you’re not, what are you waiting for?

Thursday, August 30, 8 PM
Cole Hicks, Joey Gallo, Kenneka Cook @ The Camel – $10 (order tickets HERE)
RVA hip hop is only getting deeper and stronger as the years go on, and I don’t know who could possibly have a problem with it. For those of us who recognize how wonderful a development this is, the place to be this Thursday night is The Camel, where this city’s newest star of the hip hop community is having a party to celebrate the excellence of her brand new album, May Day. That’s right, I’m talking about Cole Hicks, a tenacious wordsmith with sharp, incisive lyrics and an unrelenting flow. The majority of her new album is produced by NameBrand of Nickelus F and Radio B’s crew, AGM, and it’s full of smooth soul samples that add a moody, elegaic undertone to Hicks’ powerful rhymes.

She’ll take this entire sound to the next level once she hits the stage at The Camel tomorrow night, where she’ll present her May Day album to the world with a full live performance. It’s been out for a few months now, so you’ve had plenty of time to get on her wavelength, but if you still haven’t caught on, your attendance tomorrow night is required. Joey Gallo will also be on the scene, presenting his own excellent multilayered sound and outstanding lyrics — as heard on his powerful 2016 release, The Gallory. And of course, a set from Kenneka Cook will change up the sound and bring a dose of soulful experimentation and incredible vocalizing to the evening. There’s a lot to look forward to from this one — you really don’t want to miss it.

Friday, August 31, 6 PM
Holly Golightly & The Brokeoffs, Big NO, The Shangri-Lords @ Hardywood – Free!
Holly Golightly — for truly, she is none other — comes to RVA this Friday night, and anyone who loves garage rock, rootsy country, and old-school punk rock should certainly be stoked. Now, I know what some of you are thinking: “Holly Golightly, wasn’t that the name of Audrey Hepburn’s character in Breakfast At Tiffany’s?” Well, yes, you’re correct, but it’s also the name of a singer (whose mom was apparently a Hepburn fan) who has been making excellent music in a variety of guises since the late 80s. She first came to fame as the frontwoman of UK garage-punkers Thee Headcoatees, an all-female spinoff from wildman Billy Childish’s Thee Headcoats. But she’s done a lot since Thee Headcoats disbanded, too.

In addition to over a dozen solo albums, she’s appeared everywhere from the soundtrack to Jim Jarmusch’s Broken Flowers to a memorable guest spot on the excellent White Stripes album Elephant (that’s her giving Jack’s horse a carrot so it’ll break his foot). For the past decade or so, she and her partner, Lawyer Dave, have had a project called Holly Golightly and the Brokeoffs, and it’s this project that’s coming to Hardywood Friday night. They’re sure to bring us some tunes from their brand new album, Clippety Clop, which features a collection of cover tunes about horses, originally performed by everyone from Jimmie Rodgers and Johnny Cash to Red Red Meat. And considering Golightly’s excellent voice and talent with a variety of musical genres, whatever else they want to bring to the stage is just as certain to be a delight. With local excellence in the form of Big No and the Shangri-Lords kicking this one off, and a truly delightful pricetag, you have no excuse to miss this one.

Saturday, September 1, 8 PM
North By North, Caterpillar Trap, Solace Sovay, Mister Moody @ Gallery 5 – $6
This one’s gonna be fun. Thumping, rollicking rock n’ roll trio North By North are coming to town, bringing their inexhaustible propensity for touring the world to Richmond, VA. This Chicago group eschews bass in favor of organ, in a manner that gives them a heavy, almost surf-like undertone and an energy that’s sure to get you dancing. 2016’s Last Days Of Magic also shows off a variety of unconventional instruments that give the group an additional layer in the studio, but the songs themselves are sure to stand on their own in the live environment, and ensure that you can’t stand still on the dance floor.

North By North will be joined by a variety of local RVA bands when they hit town, Caterpillar Trap being the foremost among these. Their funk-infused prog-rock sounds are sure to delight those of you who like their rock n’ roll to be a fun blast of high energy. Indie trio Solace Sovay have a bit of a different feel going on, venturing into the sort of post-shoegaze territory of Silversun Pickups, early Smashing Pumpkins, and even Band Of Horses on their underrated new album, It Doesn’t Matter What It Is, Just What It Seems. These guys are the best reason for you to show up early to this one. But of course, you’ll also want to catch Mister Moody, a new crew of rockers who haven’t revealed much about their sound as yet — but are certainly intriguing.

Sunday, September 2, 8 PM
Toke, Sinister Haze, Book Of Wyrms @ Strange Matter – $10 (order tickets HERE)
OK, y’all, get ready for some SERIOUS doom. Toke hails from NC, and you know any band that names themselves after the act of taking a drag from a joint is gonna have some top-level slow-n-heavy shit for you. Toke completely live up to their name on 2017 EP (Orange), dropping half a dozen bangers of pure thousand-ton groove on ya, complete with some excellent high, harsh vocals. If you always wished Grief were a little less depressed, or that Fu Manchu would quit pussyfooting around and get seriously heavy, you’re gonna get a big kick out of this Carolina trio.

They’re joined on this bill by a double-shot of local doom power to make you even gladder that you came out, too. For one thing, we’ll be graced by a rare appearance of Sinister Haze, who’ve gone through a significant metamorphosis over the years in which they’ve been active, most recently materializing as a spacefaring psychedelic metal quartet — complete with spooky synths from soundman extraordinaire/former Lost Tribe member JK — on their 2017 EP, Emperor Of Dreams. Book Of Wyrms have a psych tinge of their own, as displayed on 2017’s Sci-Fi/Fantasy, but end up splitting the difference between Sinister Haze’s space voyaging and Toke’s earthy rumble with ethereal vocals and Hawkwind-ish space sounds finding a home over some pulverizing proto-metal riffage. You’ll have a headbanging good time at this one, folks, so don’t miss it.

Monday, September 3, 8 PM
Ohmme, Renata Zieguer, Tinnarose @ Strange Matter – $10 (order tickets HERE)
I will freely admit that this Chicago duo’s name through me for a loop, at least until I found out it was originally spelled “Homme,” but was changed either to avoid confusion with a K-pop group or to appease the fans of that Queens Of The Stone Age guy (only their lawyer knows for sure). They’re doing some pretty interesting stuff on their brand new album, Parts, stuff that shows both a facility for pop songcraft and a love for experimentation with all sorts of unusual sounds. Apparently they’re both classically trained pianists, but these days they’ve left keyboards behind for the most part, in order to do weird stuff with guitars and sing in perfect harmony.

Ohmme’s got a lot of fascinating sounds and catchy tunes to bring to the ears of discriminating indie-pop fans, and the same folks are sure to enjoy New York’s Renata Zeiguer, who’ll be joining Ohmme on their trip to Strange Matter. Zeiguer’s debut LP, Old Ghost, encapsulates a variety of genres, moving through new wave, rock n’ roll, pop, country, and influences from older sounds like swing and gospel in a nimble fashion that I can imagine appealing both to fans of Haim and to those who love Natalie Prass. With recent RVA transplants Tinnarose, a folk-psych project with an enchanting aura, opening up, this show is sure to be a treasure trove of musical delights.

Tuesday, September 4, 8 PM
Shadow Age, Serqet, Pain In The Yeahs, Widow Rings @ Strange Matter – $8
New York group Wax Idols were scheduled to headline this show, but instead they cancelled their tour and broke up. That’s a real bummer, but we can’t let it get us down for too long, especially since this evening still has so much excellent music to offer us. Shadow Age, for one, who’ve brought us a couple of excellent EPs over the past few years and will be celebrating the release of their self-titled debut full-length at this show.

From the three songs that have been revealed on the internet thus far, it sounds like it’s going to be a great one, carrying on the group’s synth-infused, guitar-driven gothic postpunk sound with even stronger melodies than they offered before. Fans of the band are sure to be stoked. And with a packed lineup of VA-based excellence, from the gloomy, profound postpunk of RVA’s Serqet to the morose electro-goth sounds of Tidewater group Pain In The Yeahs to lachrymose Fredericksburg darkwave project Widow Rings, there’s plenty more for those able to get on Shadow Age’s wavelength to enjoy… or at least appreciate.

Bonus Hampton Roads Picks:

Friday, August 31, 9 PM
The Muslims, The Cazz, The Breach @ Taphouse Grill – $5
When I saw the band name “The Muslims,” I wasn’t sure what to expect. Was this just another group of suburban white kids attempting to provoke? Thankfully, no — it’s just the opposite. The Muslims are a trio of musicians of color, taking a confrontational approach to calling out all of the racist and discriminatory politics that are running wild in today’s climate of right-wing ascendancy. Their snotty, ramshackle punk sound and wittily confrontational lyrics, displayed on their self-titled full-length debut in songs like “Jihadageddon,” “Muslims At the Mall,” and “One Black Friend,” is exactly the sort of fearless, irreverent musical activism we need in this world right now.

The Muslims have had videos removed by YouTube and status updates censored by Facebook, but IRL, this Durham group can’t be stopped, so head out to Norfolk’s Taphouse Grill this Friday night and get your mind blown by this brilliant musical finger in the face of everything that sucks about 2018. They’ll be joined by Norfolk locals The Cazz, an old-school punk trio with some jangly tendencies and snarky lyrics. Opening up will be The Breach, who hail from Virginia Beach and clearly love early 80s hardcore and playing really fast. This one’s gonna be a lot of fun.

Tuesday, September 4, 7 PM
Dead Boys, Ghost Wolves, The Nerve Scheme, Norfolk Nightmares @ Shaka’s – $15 (order tickets HERE)
It’s been over 40 years since the Dead Boys released their groundbreaking debut album, Young Loud And Snotty, and if you’re thinking, “Wait, aren’t they all, you know… dead?” You’ve got another think coming. It is indeed true that original vocalist Stiv Bators passed away in the early 90s, but original members Cheetah Chrome and Johnny Blitz have, believe it or not, recruited a couple of members of a Dead Boys tribute act called The Undead Boys and hit the road once again in celebration of a brand new, rerecorded version of their legendary debut.

Still Snotty: Young Loud And Snotty At 40 shows singer Jake Haut (the punk rock Ripper Owens) doing a great job of recreating Stiv’s snarky rage on classic tunes like “Sonic Reducer” and “Ain’t Nothin’ to Do.” And he and the other still-living Dead Boys are sure to tear things up at Shaka’s on Tuesday when they bring you all the hits, as speedy, as energetic, and yes, as snotty as ever. Raw, roots rockin’ duo the Ghost Wolves will also be on this bill, laying down some primitive noise sure to bring a smile to the face of anyone who enjoys The Cramps. Tidewater locals The Nerve Scheme and Norfolk Nightmares will kick the night off and ensure that this one is a blast from the word go. Be there.

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