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David Bazan Struggles With Faith, Family, and Loneliness In Strange Negotiations

D. T. Jones | November 25, 2019

Topics: Brandon Vedder, Christianity, David Bazan, Donald Trump, indie rock, pedro The Lion, Phoenix, Strange Negotiations, touring

Brandon Vedder’s documentary about Pedro The Lion frontman David Bazan gives an intimate look into the difficulties of being a solo musician on the road in Trump’s America.

To paraphrase James Baldwin, David Bazan loves Christianity more than any other religion in America and, exactly for that reason, he insists on the right to criticize her perpetually.

Bazan is an earnest and hard-working songwriter who found relative popularity with his indie Christian band, Pedro the Lion. Starting in 2015, award-winning documentarian Brandon Vedder followed Bazan around for the better part of two years, editing the footage down to an extremely reasonable 92 minutes for his documentary Strange Negotiations. The film is a motion portrait of Bazan, his music, his relationship with faith, and how those things fit into his life and others in America.

It opens with an over-the-shoulder shot of Bazan driving on a highway in a storm, his eyes framed in the mirror. The sounds of windshield wipers and raindrops fade into the electric intro of “Impermanent Record,” a deep cut from Bazan Monthly Volume 1, a series of singles Bazan released in late 2014. 

I was trembling with gooseflesh
First time I prayed to speak in tongues
I saw it coming and I tried to run
But now I make it up as I go along

Bazan shakes his head as the lyrics and fuzzy bass kick in… he sheds a single tear, and starts nodding along. The title splashes before soundbites from an NPR story summarizing Bazan’s career play over footage of Bazan’s earlier, well-attended shows and festival appearances:

“David Bazan was once known as the first crossover Christian indie rock musician. His band… sold hundreds of thousands of records. Then Bazan began questioning the God he sang about, alienating many of his fans. Now he has a new album out under his own name, and recently he went on a solo tour playing living rooms.”

Another correspondent cites descriptions of Bazan’s solo album Curse Your Branches as a breakup with God. We hear these words as we see shots of Bazan on the road, arriving at, and playing in peoples’ houses: “Bazan hopes those who buy it will respect his honesty, in spite of what he might believe.”

In the next scene, Bazan drives while discussing his son’s little league games over speakerphone with his wife. Bazan apologizes to her, and they both exhaustedly say goodbye. Some narrative text on screen tells us: “Ten years and five solo records later, touring remains his only reliable source of income, separating him from his wife and two kids most of each year. This is his 137th day on the road of 2015.” NPR news from Washington chimes in about Donald Trump and Ben Carson being up in the polls as we watch Bazan drive down the road:

“One of the many surprises this election year has been the support Donald Trump has received from conservative evangelical voters in the primaries… Trump met with hundreds of evangelical leaders in Manhattan yesterday and he suggested that they not pray for the country’s current leadership.”

Five minutes into the film, the central themes are laid out. Bazan has his road-intensive music career, derailed by his loss of faith and the loss of his band, and he struggles to balance touring with home life, attempting to find his place in a country that defies the religious values with which he wrestles.

The first half of the film is devoted to fans and their conversations with Bazan during and after his performances. Homes in places like Charleston, Tampa, Charlotte, Sacramento, and Richmond serve not only as concert venues but as forums. Vedder interjects short scenes of Bazan doing radio and podcast interviews. Bazan visibly thinks about the sentiments he expresses throughout, no matter who is addressing him.

Vedder places the loss of Bazan’s faith in a parallel arc with the rise and fall of Pedro the Lion. Using the band’s song “Slow and Steady Wins the Race,” from their 2000 LP Winners Never Quit, as a leitmotif, Vedder weaves a fabric of archival footage portraying a younger Bazan, and in turn foreshadows the resurrection of Pedro the Lion by the end of the film.

In the film, Bazan directly relates his move away from Christianity, telling a story of refusing to take communion at church as he realizes that he is divorced from his belief. Vedder juxtaposes this story with a sludgy, feedback-filled Pedro the Lion performance of their 2002 song “Rejoice,” the lyrics of which help underscore the mindset Bazan was in:

Wouldn’t it be so wonderful if everything were meaningless
But everything is so meaningful
And most everything turns to shit
Rejoice
Rejoice
Rejoice

After this fall from grace, the film touches on Bazan’s struggle to overcome the alcohol abuse he engaged in as a coping mechanism for the loss of his faith. While Bazan plays the song “Please, Baby, Please,” a 2008 solo track about begging his wife for a drink, we see what’s at stake — the song is juxtaposed with home videos of Bazan’s wife and daughter. Dream-like shots of his daughter and son cut short by the sound of Bazan hanging up a gas pump; he’s still on the road. This simple but effective trick is a tool Vedder uses to show us Bazan’s emotional journey without the need for any lengthy explication.

As Bazan focuses on his family and bringing back Pedro The Lion, the election of Donald Trump is a constant background thread. The conversations at the living room shows become more pointed. At one point, Bazan tells Vedder how he had long believed “the white American Christian Church was not a lost cause,” but the Trump victory has led him to change his mind. He feels evangelical Christians have sacrificed most of their values just to fight for an end to legal abortion in the United States.

“It’s all worth that Supreme Court seat. It represents only abortion to them. And if somebody believes the ends… justify the means… that is idolatry,” he says. “For everything Christians claim to believe, the election… laid bare what they actually believe.”

In 2016, Bazan released his family-themed solo record, Blanco, then went on a 58-city tour. Vedder captures how much he misses his family on that tour, then shows us Bazan’s return to his hometown of Seattle, where he is finally able to attend one of his son’s baseball games. It’s at this point that he realizes that he needed to go back to Pedro The Lion. “I had to return to the process that I knew,” he says. “It was a revelation. It was just like riding a bike. It felt like home.”

At one point while Bazan is on tour, the film intercuts home movies of his daughter learning to ride her bike. In light of these references, it’s worth noting that the first single released from Pedro The Lion’s first reunion album, Phoenix, is “Yellow Bike,” which compares lonely childhood bike rides to the alienation of solo touring. By the end of the film, Bazan is back on tour with Pedro The Lion — alone no more.

Vedder’s documentation of Bazan’s life over the past few years tells an understated yet powerful story, often through juxtapositions of visuals and music that combine to speak more clearly than a heavy-handed narration ever could. The film’s audio track is outstanding, as it should be for any music film; post-production services are ably provided by Skywalker Sound.

If you appreciate carefully crafted film storytelling, I would recommend any of Brandon Vedder’s documentaries, but this one will be particularly essential if you, like me, are a longtime fan of Pedro the Lion.

Strange Negotiations is currently available for rent or purchase from iTunes.

Images from Strange Negotiations

Music Sponsored By Graduate Richmond

Musical Variety and Brotherly Ribbing With Super Doppler

Alicen Hackney | August 30, 2019

Topics: country, Hardywood, indie, Moonlight Anthems, psychedelic, Super Doppler, Super Secret Singles Club, touring

With their new self-titled LP, Norfolk’s Super Doppler have integrated a wide variety of musical styles into their old-school rock sound.

Getting to the roots of rock with a dash of soul and some gentle country twang, Super Doppler has reached into their, seemingly, bottomless pit of potential new music to create their latest, self-titled album, Super Doppler. 

“When we were learning all these songs, we got together and we had about two albums worth of material ready to go, and we just had to decide,” said Super Doppler’s singer, guitarist, keyboardist, and songwriter Harry Slater. “Someone will put out a song that will be an instant hit with all the guys, that’s maybe a little more experimental or out there than whatever we’ve done before, and that might dictate where the direction of the other songwriters might go for the next couple months. You just never know.”

The guys have kept each other on their toes musically, ensuring their new music is never quite the same as before, and is as stylistically diverse as they please. Within the five-piece group, three of the guys serve as songwriters, and all pull in not only their common interests, but their individual stylistic and genre-based quirks as well. Aside from Slater, Supper Doppler is made up of two sets of brothers: Cole Friedman on bass, Neal Friedman on keys, guitar, songwriting and vocals, Michael Adkins on guitar, keys, songwriting, and vocals, and Brian Adkins on drums.

“Michael was the one writing a lot of very country roots stuff, and then Neil and I started writing a lot more experimental, strange, contemporary styles of psych rock and things like that,” said Slater. “We liked all of it, no matter how diverse.”

With so much music currently on the back burner, the guys have toyed with the idea of dropping touring altogether to focus on getting music out as often as they can. They don’t see it happening anytime soon, especially with a tour right around the corner, but they would prefer that no music get left behind. 

“We look at a lot of older bands from the 60s and 70s that were just releasing multiple albums a year, just constantly doing it,” said Slater. “We’re constantly writing, constantly trying to one up each other in a friendly way, and constantly putting out stuff that’s really different from before. And everyone’s always really eager to learn it, play through it live, and put it through the studio.”

For the guys of Super Doppler, friendly competition is natural. Being a band featuring two sets of brothers, in which everyone involved has grown up together since high school at the latest, lends itself to strong relationships that can withstand musical disagreements. 

“I’m sure some people have thought, ‘Oh, those guys treat each other terribly, they all hate each other,’ but it’s just all brotherly ribbing,” said Slater. “Sometimes I can be the odd man out when it comes to voting. Often it’ll be the two sets of brothers pitted against each other and I’ll have to be the deciding vote.”

Photo by Nate Crawford

While Super Doppler in its current form has only been around since 2016, the guys have been playing music together since their high school years. To attest to their incredible musical growth and bond over the years, they played shows through their college years when they were all at different schools, and have stuck together tightly through it all. 

“We were absolute weekend warriors for a couple years. We didn’t have a tour van at that point, so we had to travel in separate cars. I used to borrow my mom’s Prius to hold amplifiers,” said Slater. “After that phase was done we were very much ready to not do that anymore, and play clubs and dives; do the actual rock band thing.”

A big thing the guys have learned over the years is how to scale their music properly to ensure that it sounds the same both in and out of the studio. On their first album under the name Super Doppler, Moonlight Anthems, they did recording in studio with a horn section, which proved difficult to maintain on the road.

“It was just too many mouths to feed on the road. There were songs we just had to stop playing because they were just too dependent on a horn line, or having to retool things and rearrange things to make it work without certain parts,” said Slater. “We keep in mind that we’re going to have to be playing this live, so usually before we even record something, we practice to make sure we have a good version [with] just the five of us. It’s more of a maturing approach to arranging.”

Photo by Eye Of The Storm Photography

That being said, the self-titled album still features musicians other than the core group, including Richmond harmonica player Andrew Alli. 

“We like to keep it very diverse musically, and sometimes our thoughts are so diverse that they go beyond what our members can do, so we have to call in some hired help,” said Slater.

As they’ve fine-tuned their process from studio to stage, they’ve also started experimenting with the timing of their releases. For their previous release, Super Secret Singles Club, they released the songs one at a time over the course of a couple months. As for their new album, they decided to only release it digitally before the start of their tour. Physical copies of the album will debut as they hit the road. 

“We noticed that nobody knew the songs yet,” said Slater. “We would start playing the new stuff that we were excited about, and everyone would go take a bathroom break or something. We decided to let it out digitally and let it sink in before touring in support of it.”

While this system may be working better overall and will help connect the audience to the live shows in a more in-depth way, the gap between release and tour has presented challenges for the guys that they hadn’t expected, such as not getting to see their audience’s reactions to the new album yet, and having more downtime between the release and the tour than they intended. 

“I’m sure we’ll really see the results when we’re on tour and start playing shows again. It’s been a very long wait,” said Slater. “I’m starting to stay up a little later at night, trying to exercise a little more to get ready for it. Quite honestly it’s probably gonna kick our asses for the first week or two, since we haven’t been on tour in a while. There’s just no getting around it.”

Photo by Nate Crawford

Luckily for the guys, the first stop on their tour, in Williamsburg, went off without a hitch. Richmond is up next; on Friday, August 30th (that’s tonight!), Super Doppler will be taking the stage at Hardywood Park Craft Brewery, along with The Wimps and Dogwood Tails. The show is free, it starts at 5 PM, and yes, there will be physical copies of the new album available for sale.

Top Photo by Eye Of The Storm Photography

Music Sponsored By Graduate Richmond

Whitesburg, Kentucky

Michael Millions | April 12, 2019

Topics: hip hop, Kentucky, Michael Millions, Nickelus F, Roundabout Music Company, RVA 36, Summit On Main, touring, Trillbilly Worker's Party, Whitesburg

*This article originally appeared in RVA Mag #36, on the streets now at all your favorite spots.

After being on the road for more than a week, Nickelus F and I left Chicago for the midwest leg of our tour and headed south to its final shows. After a short stop in Lexington, Kentucky for a pop-up show, the next day we found ourselves riding through the hills of eastern Kentucky, headed to a small city called Whitesburg: population around 2,000. Surprisingly, when the tour was first organized, this small Kentucky town was the first city to book Nick and I. Having never been to Kentucky for anything — let alone music, let alone hip-hop — I knew the tour stop was going to prove interesting.

Watching the country roll through hills and windy roads, I kept wondering why people would choose to live in such a rural area. The closer we came to Whitesburg, the more I realized that normal city attributes like neighborhoods, shopping centers, restaurants, and gas stations seemed to disappear and reappear like mirages — harbingers of civilizations.

This was offset by small houses dotting the countryside; in one of the valleys, we even found a Lee’s Famous Fried Chicken. I came to the conclusion that during our tour through the heart of America, I had finally reached the place that had triple bypass surgery. This place has been here long before me and Nick, and it will be here long after we depart. Maybe when everything goes up in smoke, Whitesburg will still be standing, among the rest of the small-popping cities of America.

With almost no cell service, I began to look up Whitesburg. I learned that, of its population of less than 2,000 people, only one percent of that population was black. Yet, apparently, it was one of the most progressive towns in this all-red State.

Smiles.

As if being in a city with virtually zero black people wouldn’t be interesting enough, our road manager decided to pull over at a local grocery store as we entered it. Wanting to see what type of time this city was on, Nick and I hopped out of the van, Nick pulling up in his dark sunglasses. None of us were prepared for what happened next.

Photo by Michael Millions

But first, let’s set the scene. Two black hip-hop artists from Richmond, Virginia, with long hair and nice clothes, just pulled into Whitesburg, Kentucky and walked into a very busy local grocery store with our black-haired, tattoo-sporting tour manager, Phil Shive.

Know that scene in the movie when the record scratches, stops, and everyone turns to look? That happened. So quiet did the grocery store get, we could actually hear the generic music playing in the background, mixed with the sound of the sliding doors opening and closing — a weird silence for that many people at midday.

Following Phil to the beer aisle, we noticed customers had stopped their transactions to look in our direction. In the beer aisle, one employee stopped mid-motion as he placed a box on a shelf; everyone in the store was still frozen in place. As we made our way to the registers, all the eyes still looked back at us. I could see their faces from where we were standing. The feeling was so crazy that I actually burst out laughing, and bent over to hide my reaction. I heard Nick mumble, “Shit’s crazy around here, yo.”

Our check-out clerk tried to act as normal as possible, but it was clear she had never seen black people in her life before. I didn’t sense danger, and these people were not racist — they’d just never seen so much color in their small town. We might have been just as rare as the Fugate Family of Kentucky, who had indigo blue skin due to genetics. This was probably one of the most awkward five to seven minutes of my life — like the Fugates, I felt like I had blue skin (and horns coming out of my head).

Walking back to the van, I think we almost caused a couple of parking lot accidents due to people rubbernecking our accidental trip to this store. Safely back in the van, we cracked up about the whole experience, but this made us even more excited to see what the show would be like.

Photo by Landon Shroder

Ten minutes later, we pulled up and parked on a block that happened to be the city’s downtown, maybe one or two city blocks long by Richmond standards. Phil blurted out, “Welcome to Downtown Whitesburg! The city that has earned its name today!”

Our host, Tom Sexton — co-host of the Appalachian’s best-rated show, The Trillbilly Worker’s Party podcast — had a real fly spot: walls full of classic hip-hop posters, interesting books on his coffee table, movies. I noticed he had a big poster of Dr. Cornel West, one of America’s most prestigious black academics, on the wall leading to the bedrooms. In this moment, I instantly understood what they meant when they said Whitesburg was progressive. Maybe, I thought, this city would be behind the rest of us. But, nope, the rumors were spot on. For me, it was like visiting one of America’s lost cities. One that had never lost track of the world.

I rolled a joint, and they walked us over to the building beside theirs where we would be staying. A couple doors down from our loft was the show venue, Summit On Main. We actually stopped there (and took five fireball shots) when we first pulled up to scope the venue.

Talking with Tom, it was apparent that he was a well-respected person in the community, and he was excited for us to perform. This was more than just a random show for him. We heard there was a record store at the end of the block, and I thought it was strange that a town this size even had a record store. We finished our joint and walked over there. On the way, we saw big posters for our show in all the store fronts. “Yo, tonight’s gonna be fire yo, watch,” said Nick, nodding and smiling.

We walked into the record store, Roundabout Music Company. One of the owners, Ben Spangler, was playing some old Wu-Tang records, along with some other deep-underground hip-hop records. Lacy Hale, the other owner, is a painter, and one side of the store was filled with bins of art supplies and paintings. Nick broke the ice by asking about some records. He ended up buying a few albums.

We observed looks of slight confusion on both of their faces before we told them we were in town for the show at Summit. Then it clicked; we were the artists on the bill, and we were headlining this diverse bill in their city.

After leaving the store, Nick and I took some random pictures and kicked it until show time.

Photo by Landon Shroder

Naps are essential on tour, and sometimes they slow you down. We got to the venue a bit late and started setting up our merch tables. A short time later, we started meeting a bunch of locals attending the show. There were only two other black people there — a grand total of four, including Nick and myself. In Whitesville, we shared the stage with Lee Bains III & the Glory Fires and a few others.

When it was time for me to go on, the whole crowd, previously spread out around the venue, pack into the front for our sets. I still couldn’t understand what connected Whitesburg to hip-hop, but it was clear, at least in that moment, that the music was bringing their town together. Of course, playing locations like Brooklyn, Philly, or Boston are super cool, but the most amazing part of tour is to have such a rare cultural experience in a new city.

Sometimes it’s not about about the big cities with lights, but the small ones in the shadows of the country; these rare, remote places that give you a glimpse of a better America — not the one you expect when you recall the history. I wonder how many other hidden places around the country sit under the radar like this. And, hopefully, to more artists: consider Whitesburg the next time you sit down to plan a tour.

Top photo by Michael Millions

Music Sponsored By Graduate Richmond

Beats By The Pound: Richmond’s Ver$ace Chachi takes on Europe

Hip Hop Henry | October 30, 2018

Topics: hip hop, London, rva 34, touring, Versace Chachi

*This article originally appeared in RVA Mag #34, on the streets now at all your favorite spots. 

It was late August but hot as early July when I rolled up on emcee Ver$ace Chachi, fresh off his tour of London, England. The globetrotting hip hop artist was meeting me on a block of West Broad Street on a typically muggy Richmond night.

Normally, I’d sit down to talk hip hop in a bar or restaurant, but we headed upstairs to the studio of Richmond’s independent radio station, WRIR, where I knew the AC was working. Chachi, bearing chocolates from Carytown, had come over to talk about doing hip hop overseas, cultural differences between American and European fans, and hip hop’s favorite subject: Getting paid.

First, I asked him about a contentious tweet he wrote earlier this year, where he voiced his opposition to performing for free.  “I’m not the type out here bragging, like, “Hey, I went to Europe so I’m better than everybody,” Chachi said. “I don’t want people to get the wrong image.”

For Chachi, it’s about the hard work he’s put in, not ego. “I had to sacrifice, you know? I was working a job, all that shit, moved to New York, I put away a lot of stuff. I got promoted at my old job. I chose to dismiss all of that and pursue music, whether I was getting money or not. It’s something I wanted to do and I felt like by me making leaps and just even being able to get booked for a show overseas, I’m like damn, like y’all got to put some type of respect.”

It’s not just about him, either. He said, “If I’m going to book somebody for a show then I feel like they deserved to be paid.” He didn’t want to single anyone out, but said that he’s been asked to perform free too many times. “I just feel like you can’t just go out your way to hit me up and say, ‘Hey, come for a show,’ and you can’t even offer the smallest [pay]. I’m not trying to be about money, but at the end of the day, this is all I got.”

In order to understand Chachi’s take on why he feels this way about compensation, you have to understand the journey that led him across the pond. He said that at one point, he was the guy working for free, doing every show he could. “I was that dude running around, and there’s nothing wrong with it,” he said. “I’m not trying to tell nobody how to move or nothing like that, but I felt like I had to in order to establish what I felt like I wanted to do, you know what I’m saying?”

Chachi told me he felt like he had to “get out of the box.” The free shows, the hustle, “didn’t really pay off,” he said. He ended up moving to New York, leaving Virginia behind. “It’s not always about where you’re from,” he said. “It’s more so like about where you’re at, the position to people you can interact with, people you can talk to. Being in different places can inspire new thoughts and ideas, you feel me?”

In New York, his peers called him “southern.” Chachi said, “I felt some type of way about that shit.” Southern, Chachi said, meant “lyrical.” While Chachi uses sampled melodies and song, it’s not all he’s doing. He said, “I’m not on that, like, boom bap conscious wave. I can do that, but like, I just try to have a little bit more character than my music.”

Chachi’s progression has taken him from Richmond to New York to Europe, crossing the ocean and another set of cultural and linguistic borders. “Yeah, they say nigga, bro,” he said. “Not some racist shit; like, all the white kids screaming ‘That Nigga!’” He said that’s not how it’s meant there, it’s just the fans using words they’re picking up in rap. When he hears it, he said, “I let it rock, as long as you rocking with me. That’s all that matters.” When it comes to other hip hop vernacular, like the word “lit,” the fans are even more clueless. “They scream it’s lit, it’s lit, and they don’t even know what it means.”

Chachi has crossed a lot of language barriers, with performances in Hamburg, Germany as well as the Czech Republic, France, and London, but has found English and rap both work across the divide. “A lot of people in France, you’ll walk up to them speaking English and they look at you like you’re stupid, but they really do speak it,” he said. “They’re just being lazy, trying to be funny, but they speak that shit out there, like, very fluently.” About ninety percent of the people he meets speaks English, he said, “and if they don’t know how to speak it well, they do know the words to songs. That is a fact. And they will make sure that they sing it at the shows.”

Chachi’s experiences through Europe bring to mind an earlier generation of Black musicians, touring overseas because they were barred from America’s segregated television programs. More recently, hip hop groups like The Roots toured new music in Europe before a stateside release.

The fans are different in Europe, Chachi said. “The people out there know just as much as us out here, especially when it comes to underground,” he said. In Europe, “they’re more hip to the upcoming scene, as opposed to people out here.” The experience as a rapper is different, too. No matter your standings in the American rap game, in Europe, the fans treat you like a celebrity.

Chachi told me one story he’s never let slip before, illustrating what makes the European experience so different. “The craziest shit that ever happened to me out there, it was my first tour. I was in south France, in Montpellier.” He was with his then-tour manager, and stepped away to visit an ATM. “I’m walking dolo [alone],” he said. “Over there it’s a little different, a little bit more chill, relaxed. So, I’m walking, and I get to the ATM. And I swear on everything I fucking love, some guy walks down the street, playing one of my songs on a boombox. Shit fucked me up.”

By the time you read this, Chachi should be back overseas, but he’s also got some new music coming for his American fans, and he’s sifting through footage to make a video for his single, “Yoga Flame,” shot in Toronto, Canada. After the long route he’s taken, I asked him, what would you tell someone just starting out now?

Versace kept it simple. “Know your worth.”

*Photos by Branden Wilson

Those Manic Seas drop Eternal Tour video & discuss returning to road life before tomorrow’s Balliceaux show

Amy David | January 27, 2016

Topics: Balliceaux, post-rock, Those Manic Seas, touring

Quirky and dazzling local post-rockers Those Manic Seas spent sixty days last fall on the road as they embarked on their first national t
[Read more…] about Those Manic Seas drop Eternal Tour video & discuss returning to road life before tomorrow’s Balliceaux show

Dave Grohl Talks @Foofighters_RVA and Playing Richmond, VA on South African Radio

R. Anthony Harris | July 3, 2014

Topics: crowd sourcing, Dave Grohl, foo fighters, richmond music, RVA, touring

After the successful crowd sourcing of the Foo Fighters RVA Campaign, lead singer Dave Grohl says crowd sourced shows may “change the game” of touring.
[Read more…] about Dave Grohl Talks @Foofighters_RVA and Playing Richmond, VA on South African Radio

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