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Tell my friends about Myspace? We based it off your Twitter details. Connect me to people I follow on Twitter? If we find matches from the people you follow on Twitter, we'll connect you to them right away. Tell my followers about Myspace? Let your followers know you're on Myspace with a Tweet. Welcome to Myspace. White Laces encompasses that specific notion of seeking, expressed through the washed out chords of an indie rock dreamscape. A psychic death and rebirth. Wow, Owls!
Which is where I think Wow, Owls! The vocals rarely leave their comfort zone, never moving into that cringe inducing, strained, and choking on tears sound many vocalists attempt in a bid to sound troubled. However, Wow, Owls! Melodic guitar parts that are somewhat reminiscent of Hot Cross , often lay the grounds for build-ups into fuzzy garage rock-esque choruses, carried along with competent punk drumming.
Smith said that he likes to write about the mundane struggles of life, like having bad jobs or bad life experiences. The band seems to pride itself on its eclectic style and its sometimes befuddling band descriptions. My point? Welcome to The Richmond Music Catalog, part 2 of 4. Engine Down was a four-piece rock band from Richmond, Virginia, active from They were a part of the Washington, D. 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 Engine Down disbanded, following a farewell tour. Davis joined the band Sparta as lead guitarist. Charlottesville, VA-based Erin and the Wildfire will return with their new album Thirst , due out tomorrow September The sextet formed at nearby University of Virginia in and will release a new album inspired by the likes of Alabama Shakes, Vulfpeck, Funkadelic and Tedeschi Trucks Band among others.
He also did the label Paralogy Records. His influences are the reason he has such thoughtful lyrics. The track is a standout record because it is filled with heavy lyricism. And after one listen, I understood why. The track stands out with this heavy bass hitting instrumental with a deep vocal hook. 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 year-old guitarist, composer, bandleader, and craftsman behind Fight the Big Bull, knows that time is now. 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.
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 track has a slightly progressive in terms of hardcore music opening that will make sure to get the kids swinging.
What about stuff from before the internet, though? 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. Edwards regulars anymore — at least, not the way they were heard at the time.
Therefore, we can all be grateful that, this Saturday night, half a dozen of the most memorable veterans of St. Fun Size is still around today, so you may have caught their catchy, emotional pop-punk sound at one point or another.
Flesh Eating Creeps were a Richmond, Virginia hardcore punk band from to Over that time, they had 6 bassists, released a few EPs, and played a lot of shows in Virginia and its neighboring states. 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. At last! 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.
Scenes are often dated. Passion and skill, however, dodge the expiration date, explaining the staying power of 4 Walls Falling. Drawing from the same zeitgeist as groups such as Endpoint and Turning Point , Four Walls chugged without machismo, and vented without moping. In just two albums, Fudge shifted from dreamy bubblegum to pop-punk. The Richmond, VA, band met through mutual friends in and played for almost a year before finding a bass player or a suitable rehearsal space.
Using a title borrowed from an e. 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 until February of Jones joined Dynamic Truths and Ammendolia joined the ranks of fatherhood.
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. The band had morphed into the equally awesome and, sadly, equally short-lived Dayspring by , so this EP was their sole release. Great shit. 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. 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.
For instance, they all love crack cocaine. 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. 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. 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.
This collection of songs, released in and entitled Kite Festival , perfectly articulated the sound of Lobo Marino up to that point. 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.
Since forming in , 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 , 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. 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.
A vari-speed series of rhythmically nimble skips and trudges are dolloped with guitar noise and real songcraft.
The whole band brims over with edgy intensity maybe just perpetual nervousness. Co-producer of the now-defunct Just Plain Sounds netlabel, Sleaze was known for his work as a skilled producer and artist. Sleaze was widely regarded by fellow artists for his influence in the scene. In his music, Sleaze focused his attention on issues pressing to his community. His recent work addressed his personal life and its trials and tribulations. Their multi-layered debut album, Lavalogy, is a unique, conceptual adventure that plays like the musical companion to a satirical and subversive graphic novel.
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. To compose a brief history for those not familiar, I will note just a few things. This album was originally released in and members went on to form Strike Anywhere named after one of the songs on the album , Ann Beretta, and River City High.
Enough of the BS though; how is the album? 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.
A little over 25 years ago I was in a band in Richmond, VA with 3, sometimes 4, of my friends. 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? 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. Wash your hands! 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. 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.
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. 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. 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.
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. Years later, he was tired of his job in sales and decided to do an internship at Da Spot Recording Studio.
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.
But really, nothing changed, it was all nonsense. These songs are not so metallic, but way groovier. 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. I played clarinet in middle school, and then I transitioned to guitar class in high school. And I just liked it. Better late than never. 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.
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. 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.
I get asked a lot by people: what Richmond bands should I check out? After a decade of trying to help everyone out, I decided to take a shot at putting them all down.
So here is a catalog with every good local band we could think of. This list is not complete by any means and I invite anyone making music who wants to be included to reach out. Our hope is that these four articles become a resource for anyone wanting to find out more about what bands influence or influenced the scene, and where the city has been musically, over the last few decades — it should offer up clues to where we are now, and where it is all headed.
The sudden appearance of Death is a story in itself. Recorded in , the album was never completed, and the unfinished files were thought to be lost due to a computer crash. All material was presumably gone. But his participation in the protests, where he marched alongside thousands of Richmonders for several weeks, made him want to record something as a means of expression.
Does that lyric need to be put into a contemporary context, or should we just accept that this sums up most of our entire experience in ? The band released three albums and disbanded in when Mann left to pursue a solo career. They received positive reviews but low sales. She has released seven albums since. Formed in Alice and the Reverie both sparkle and crunch. We get to see the band battling evil forces with their brand of good time music and bringing peace to the scene.
The U. This song and video are a love letter to kids who grew up embracing two worlds just like me. Accepting and enforcing just one perspective is often just a guise for racism and xenophobia. Like you I was born in this country.
Old Scars, New Blood , their first album in over a decade, features 13 re-recorded hits that sound better sung with your fist in the air. Raspy and sincere vocals combine with rich guitar and drum tones to deliver catchy choruses blissfully lacking the type of saccharine pop punk written for kids. Never bound to a boring 3-chord punk script, instead Ann Beretta include organs, slide guitar and a taste of rockabilly on these tunes. You might recognize Dooley as man behind the mansion at Maymont here in RVA — the Richmond lawyer was obviously financially stacked but at least he had the good sense to invest in some beautiful architecture.
Amidst a wall of ambient noise reminiscent of church organs comes a barrage of sound, droning and melodic, polyrhythmic and mesmerizing, harsh and beautiful. The Daily Planet was a social service and gathering place for the homeless on Belvidere St.
It was my view that when the Daily Planet got run out and bulldozed, that it was Ethyl Corporation [whose offices were a few blocks away] behind the thing. Who knows whether, as a young man, I was right or not?
It was complete speculation. Like, here we are, taking over. Here we are trying to function with high crime rates — shit, our next-door neighbor got killed. People would rob our houses. People would just walk into your house, take the TV and walk out, while you were fucking watching it! It was insane. But things change. Would I want to raise my two young daughters in the old Richmond, in the city? But can I raise my two young daughters in RVA? And interestingly enough, the material also manages to continue the creative process that the band established for the sessions that comprised their debut effort — each songwriter brought in sketches and ideas with the entire group then pitching in to flesh out the idea into a song and quickly recording the material that same day, whenever possible.
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