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Exploring The Musical Cosmos With Unmaker

Marilyn Drew Necci | August 16, 2019

Topics: Firmament, metal, postpunk, rva 37, Unmaker

*This article originally appeared in RVA Mag #37, on the streets now at all your favorite spots.

Unmaker is a tough band to pin down. This up-and-coming Richmond quartet draws from many influences — from gothic postpunk and progressive rock to experimental electronic music. With a background primarily in metal and punk, they were brought together by mutual frustration with the limitations of those sounds. 

“We wanted to have a different outlet,” says guitarist Jim Reed. “We were in metal and punk bands, so we wanted an outlet that was exploring other sonic textures and territories.” 

“I wanted something that I hadn’t done before,” agrees vocalist Aaron Mitchell. “I remember that,” Reed chimes in. “We were talking at the bar and you were like, ‘Dude, I want to be in a band where I actually sing, but no one wants me to. They just want me to scream and yell. That really bums me out.’” 

Unmaker: Aaron Mitchell, Jim Reed, Brandon Whitaker, and Chris Compton. Photo by Joey Wharton

The cure for Mitchell’s blues involved further exploration into musical styles that both he and Reed liked. “One of the early things we touched upon was [film] scores and electronic music,” Reed says. He and Mitchell list a variety of other influences they brought into the mix for Unmaker, including German Krautrock of the 70s, postpunk of the early 80s, and the experimental post-metal band Beastmilk. 

With all influences in mind, the two decided to put a band together, and before long had recruited bassist Kent Jung and drummer Brandon Whitaker. They made a conscious decision to remain open musically. “We’ve always been open to exploring any influence that somebody wants to bring to the table,” says Whitaker. “That’s something I really enjoy about this band.” 

Despite the wide variety of influences that went into the mix, Unmaker established a distinct sound early on — one that is difficult to categorize, but all the more arresting as a result. Mitchell’s vocals are a particular standout element, embodying a strong, melodic urgency that is deepened by the interplay with Reed’s guitar leads. The band has a foreboding feel, but retains a powerful, energetic approach to rhythm and song structures, further accentuating Mitchell’s dramatic vocal phrasing. 

Lyrically, Unmaker is every bit as socio-politically motivated as the average punk or metal band, but their approach is more metaphorical, mixing science fiction into veiled commentary about current events. “Children Of The Clouds” paints a romantic picture of nomadic tribes traveling through the desert, but as Mitchell explains, the song is about a very real issue. “A lot of nomadic tribes have been almost completely wiped out because of the strife in certain areas, especially in the Sahara.” 

“Used Future” gives a dark take on the progress our culture has made over the past several decades. “I think back to what I thought the future was going to look like now, as a kid growing up in the 80s, and what it actually looks like,” says Reed. “[It’s] an ad-hoc situation of the past and present. There’s futuristic stuff like our phones, but then we’re [living] in hundred-year old buildings.” 

“Through The Firmament” draws inspiration from a formative experience Mitchell had as an adolescent. “I grew up in the northern part of Michigan, and I would sneak out of my house at night to go watch the Northern Lights,” he explains. “One night, the Northern Lights had basically encompassed the entire sky, and I had the most dreadful existential moment. I feel like that’s when I lost my childhood. It was a beautiful moment but also really scary and terrifying — realizing how very, very small we are in the universe.” 

Early on, the band made the decision to make synthesizers a factor in the Unmaker sound. While synth sounds have always been stigmatized in the heavier genres its members came from, none of them bought into that idea. “Certain things were just not open, especially in the metal world,” Reed says. “If there were any keyboards, it’s not metal. [But] I never held that kind of bias.” Mitchell agrees. “I’ve always loved electronic music, and tried to incorporate it as much as I can.” 

Photo by Shane Gardner

While Unmaker has worked with a variety of synthesizer players over their time as a band, none has become a permanent member. On their 2018 debut album, Firmament, producer Ricky Olson played most of the synth parts. “We were really happy with the way the record sounded,” says Whitaker, “but we knew that we needed to get out and play shows. And it’s like, are we gonna try to put another person in here?” 

Currently, Unmaker uses sequencers to trigger pre-recorded synth parts when they perform. Their decision to move forward without a permanent synth player is understandable in light of their struggles to find the right lineup to achieve their vision. After Firmament, Jung left, and was replaced by Chris Compton. As far as the band is concerned, the addition of Compton was a big step up. “Chris brings a lot to the table,” says Whitaker. “He has such a powerful presence that you can tell there’s a difference to the presentation, and how rocking it is. It has a different energy.” 

With Compton in the band, it’s as if a whole new phase of Unmaker has begun. Since finishing their debut album less than a year ago, they’ve already come close to completing another album’s worth of material. “It’s a fresh start,” says Mitchell. “The foundation is still there, [but] even the songs I’m writing are a little different, more serious.” 

As a veteran band with years of experience in the music scene under their belts, the members of Unmaker try to keep their goals realistic. “Just being in the band and achieving the things that we achieve is honestly good enough for me,” says Whitaker. They remain committed, and plan for more in the future — not just a new album, but tours, videos, and any other opportunities that come along. “We’re going to try to just keep going at our own pace and figure it out,” says Reed. Watch this space.

Top Photo by Shane Gardner

Music Sponsored By Graduate Richmond

“We’re Bird People Now”: Thin Pigeon’s Sneaky Musical Activism

Alicen Hackney | June 11, 2019

Topics: activism, postpunk, richmond music, Thin Pigeon

Richmond postpunk band Thin Pigeon uses their music as a tool for both expression and LGBTQ advocacy.

Be honest. Have you ever seen a thin pigeon?

While such an animal might seem impossible to find, Richmond’s young and mighty postpunk band, Thin Pigeon, has been rocking the local scene lately with their wobbly melodies and sharp eye for justice in activism.

“When I came up with the name Thin Pigeon, I didn’t intend to have any bird imagery,” said Max, Thin Pigeon’s vocalist and guitarist. “It just became a joke after a while, because people would ask me what the band was called and when I’d tell them, they would make bird jokes. So we went with it, and we’re bird people now.”

After only two years on the ground, and a couple member changes, Max, along with Quinn on bass and Micah on drums [Editor’s note: the group’s former drummer, Anna, left the band in April and is in all of the photos included in this article], are setting their sights on building their local crowd through inclusion and focusing energy into the hard topics — both in their music and in their day to day. Even the band’s name holds a story with depth that the world  needs to pay attention to.

“A lot of the songs I’ve written revolve around my eating disorder and how it affects different parts of my life, so I always knew the word ‘thin’ was going to be in the name as a sort of symbolic thing…” said Max. “Pigeons are not very thin, they’re chunky looking birds, and you can’t place this ideal on them to be thin. The way I think about it people who are perceived as women are often expected to be thin, to be beautiful, to be socially acceptable… It might sound kind of silly, but I thought it was like this cool sneaky metaphor.”

Topics like eating disorder awareness, racism, and transphobia have been no stranger to Thin Pigeon in their efforts to speak out and use their music to show people what really matters.

“I feel like a lot of people think that you can’t change the political climate unless you work within electoral politics, which is bullshit,” said Max. “I think that anybody can do solidarity work, and it looks a lot of different ways. With my music, I’m trying to create representation and support for trans people of color in the DIY scene.”

As a trans, queer person of color themselves, Max, along with the rest of Thin Pigeon, has made a point to be a representative for the good in the scene as both a part of their community and an ally to their fans and audience members.

“I like to show other trans people or people of color that there is a safe space for them within the alternative music and DIY scene — that they can go to a place where they’re welcome and this music is about them and for them,” said Max.

Of course, people from marginalized communities have often been through traumas in their own lives, and Thin Pigeon always strives to acknowledge that in their own performances.

“Every time we perform the song ‘Silver Spoon,’ I always throw a content warning in the beginning, since it talks about the damages of eating disorders,” said Max. “I always try to be conscious of the people around me at shows, and I want them to feel safe. I don’t want anyone to feel triggered by my music. I respect people who come out to see us.”

Being an ally to their fans isn’t the only endeavor Thin Pigeon has focused their time and energy into. They make activism a fundamental component of their existence as a band, using their music as a tool to aid with fundraisers and community organizing, for the Richmond community and beyond.

“A lot of it for me is through playing shows, but I do stuff on the side too,” said Max. And they hope to expand the issues they’re able to work on in the future.

“I want to get into doing work with harm reduction, mutual aid, and transformative justice,” they said. “It’s not a concrete job for me, but it’s just something I’ve always been interested in doing.”

Their time as a band has been relatively short, but all of their experiences both as musicians and activists have led Thin Pigeon to an appreciation for those who are allies in ways that go beyond lip service.

In particular, Max appreciates people who are willing to lend their resources to the cause.

“Donate when you come to our shows,” they said. “Listen to our music; buy our music. If you can’t afford it, at least spread the word.”

Max emphasizes that donations are important — and not just to Thin Pigeon themselves.

“The money doesn’t always go to us,” they said. “We have a lot of friends who work in activist groups, or will put on community fundraisers to help support marginalized folks in need. For me, it’s about helping trans artists continue to be able to do what they do, and just helping us to be able to survive. It’s a big part of allyship, along with respecting us out there.”

Ensuring that marginalized minority groups are able to lead their lives with as little interference as possible has been a cornerstone of Thin Pigeon’s own allyship. Just by making their music, Thin Pigeon and artists like them help shine a light on what is possible for others facing similar struggles to their own.

With their deeply held values and their passion for music and community, Thin Pigeon is looking forward to playing more shows in Richmond and, eventually, beyond. But for now, they’re trying not to get too ambitious.

“We’re mostly focused on the near future right now, and going day by day,” said Max.

Thin Pigeon’s next show will be at Wonderland in Shockoe Bottom on Friday, June 28, with Iowa band Karen Meat and fellow Richmonders Baby Grill. Doors open at 9 PM, admission is $10. For more info, click here.

Still Life: Weekend Playlist by Blessed

RVA Staff | May 17, 2019

Topics: blessed, goth, metal, music, Playlist, postpunk, rva magazine weekend playlist, Weekend Playlist

Every Friday night, RVA Mag drops an absolutely amazing playlist curated by Virginia’s most influential artists, musicians, and institutions.

This one comes to us from Blessed, a British Columbia-based band who remind us with their music that, yes, Canada really is pretty far north. They’ll be bringing their gothic, metallic postpunk to The Camel on Tuesday, May 21, joining Richmond’s own Unmaker and Serqet in bringing some musical excitement to your midweek. Tickets are $10, and you can order your own right here.

But before you do that, dive into the playlist that Blessed has prepared so that you may give your weekend a truly excellent soundtrack. In addition to a few of their own tunes to get you psyched for Tuesday night, Blessed share a wide-ranging smorgasbord of outstanding sounds, taking you all the way from political punk to solemn indie to bouncy pop, and covering quite a few hotspots inbetween.

Take the trip, Virginia.

Open this playlist from mobile in your Spotify app HERE.

Music Sponsored By Graduate Richmond

Stress Kills: Weekend Playlist By Faux Ferocious

RVA Staff | April 19, 2019

Topics: Burger Records, faux ferocious, garage rock, music, Playlist, postpunk, rock n' roll, rva magazine weekend playlist, Weekend Playlist

Every Friday night, RVA Mag drops an absolutely amazing playlist curated by Virginia’s most influential artists, musicians, and institutions.

This time around we’re getting sounds from Faux Ferocious, a Nashville-based rock n’ roll group with a bit of that good ol’ postpunk tension thrown in there as well as plenty of rip-roaring yet catchy tunes. They just released their latest album, Pretty Groovy, on Burger Records, and will be hitting town next Thursday, the 25th, to rock Shockoe Bottom at Wonderland.

To tide you over til then, we’ve got an excellent playlist assembled just for you by the Faux Ferocious boys to launch you into your weekend! If you dig the endless groove, they’ve got plenty of that in store for you, as well as a killer live Miles Davis recording to kick things off, and a bonus tune from legendary “blue-collar golfer” John Daly. This one is gonna be a blast.

Press play, Virginia.

Open this playlist from mobile in your Spotify app HERE.

Music Sponsored By Graduate Richmond

Common Knowledge: Weekend Playlist By Todd Herrington

RVA Staff | January 18, 2019

Topics: classic rock, folk, funk, jazz, postpunk, soul, Todd Herrington, Weekend Playlist

Every Friday night, RVA Mag drops a hell of a playlist curated by influential artists, musicians, and institutions.

This week’s installment is brought to us by Todd Herrington, bassist extraordinaire and man-about-town. You might recognize him from his work in a variety of local groups, including Mekong Xpress & the Get Fresh Horns, The Big Payback, and the Cris Jacobs Band (to name a few), as well as his excellent solo work. Herrington wields his bass to create a variety of different sounds and genres of music, and his playlist reflects his eclectic palette, showcasing everything from soul jazz and postpunk to old time folk and classic 70s rock. All of it is sure to get you through a cold, rainy weekend with a sunny smile on your face.

Tune in, Virginia.

Photo by Chris Gamber

Music Sponsored By Graduate Richmond

Love Like Blood: Weekend Playlist By Unmaker

RVA Staff | January 11, 2019

Topics: Aaron Mitchell, Firmament, goth, metal, postpunk, punk, Unmaker, Weekend Playlist

Every Friday night, RVA Mag drops a hell of a playlist curated by influential artists, musicians, and institutions.

This week’s installment is brought to us by Unmaker, the up-and-coming local goth-metal outfit. They just released their debut album, Firmament, back in October on Seeing Red Records, and if you dig this playlist, which is loaded with dark and menacing postpunk, goth, and metal ragers from the past several decades, you’ll certainly want to pick that album up. Until then, spend a snowy weekend haunting shadowy rooms to this ominous soundtrack.

Jam on, Virginia.

Photo by Joey Wharton

Music Sponsored By Graduate Richmond

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