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The phrase “beyond the infinite” is incomprehensible. What does that mean anyway, to be “beyond” something that the human mind can hardly comprehend? It’s a mysterious phrase that, in the context of Prisoner’s music, becomes terrifying: it’s the name of the title track of latest release, an eerie collage of samples that slowly morphs into a slow, ominous metal track.
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Originally printed in RVA #30 FALL 2017, you can check out the issue or pick it up around Richmond now. Guitarist Dan Finn notes that the phrase is a direct reference to 2001: A Space Odyssey — the last section of the film is called “Jupiter And Beyond The Infinite.” He arranged the first half of the track only using samples from the film, seeking to create a “sonic analogue” to the trippy, somewhat terrifying wormhole sequence featured in the last part of 2001, and it certainly works as such. It also works as a mid/late album palate cleanser, a slight respite from the assault of crust-influenced hardcore and atmospheric sludge that precedes it. That’s not to say that Beyond The Infinite is all about pummeling the listener into submission — the album is a fairly diverse mix of influences and sounds, which combine to create a unique and largely cohesive whole. For Prisoners, the album is the product of years of work. Beyond The Infinite by Prisoner “After Fear Is The Mind-Killer, we had a few songs written but wanted to focus on writing a cohesive 30-40 minute album for vinyl release” guitarist/vocalist Pete Rozsa explained. “We wrote all of our songs for the next two years thinking of how they would run together as an album and which side/what order they would appear in.” In addition to the concentrated effort to produce an album that flows well throughout, Rosza’s push to incorporate more electronic elements, and Finn’s heavier involvement in the songwriting process (due to a move from Brooklyn to D.C.) helped to produce Prisoner’s most textured, detailed work to date.
“We made a conscious shift for this material” Finn described. “We had a lot of enthusiastic discussions about expanding the influences that could be brought to bear on what we’d been doing, and how electronics could help open up some of those directions.” The industrial elements and samples didn’t exactly materialize out of nowhere though — Rosza’s solo electronic project R Complex proved to have some crossover appeal with Prisoner, according to Finn. “What Pete gets up to in R Complex was influential” he remarked. “He had the concept for what became ‘Elapse’ really early on and there’s a strong R Complex vibe to the first half of that track.” Far from being an afterthought or window dressing, the electronic elements are a fully integrated part of Prisoner’s writing process. According to Rosza, many songs start out as strings of guitar riffs that are shaped into songs through practice and tinkering with parts, but a synth and drum machine progression can just as easily serve as a starting point. Electronic elements can also help potential Prisoner songs coalesce into more complete compositions, like in the case of album closer “Abyss,” a song that started out as a late-night jam on one riff.
Vocalist Justin Hast came up with a synth part to lead the song off, and the rhythm section (drummer Joel Hansen and bassist Tommy Brewer) came up with a compelling ending. On the other hand, album opener “Disintegration Of Time” started simply with an A part going into a B part, but instead of complicating the song by adding more parts, the band opted to fold electronic elements in to create something structurally simple, yet texturally dense and complex. While the recorded versions of those songs are excellent, one has to imagine how heavy they must be live. Opportunities to catch Prisoner live in Richmond are sparse, but the band is taking Beyond The Infinite on the road for almost two weeks beginning in November where they’ll get a chance to journey beyond the finite realm of Richmond and show people just what musicians from here are worth. November 9, 2017 Topics:,.
‘ Feral Conservatives have been on our radar since the Virginia Beach punk/indie pop band released a short political film ““, targeting Donald Trump. Since then, the group put out the well-received album Here’s To Almost, come back from a Southwest tour, added a band member, and earlier this month, dropped a new LP, Better Lives. The 12-track album, according to drummer Matt Francis, reveals the band’s hopes and uncertainties and is the “truest band record” they have had. After the success of Here’s to Almost, which dropped at the beginning of last year, the band was met with the challenge of building on that momentum. Here’s to Almost by Feral Conservatives “It was always kind of like, ‘well where do we go from here? How do we continue this trajectory upward, how do we improve on this foundation?’,” Francis said.
One asset the band was especially excited about for this album was bringing on Jon Auer of the Posies to mix and bring his own special touch to Better Lives. Auer also recorded and produced Here’s to Almost and co-produced Better Lives along with Mark Padgett.
On B etter Lives, however, he added his own style and collaborated with the band to improve the record and add depth to it. Better Lives by Feral Conservatives “It’s mostly like ear candy, textual stuff, but I really think it helps elevate everything,” Francis said. “I think it really brought a cohesion to all the different sounds and tones we were giving him.” Feral Conservatives recorded at Chesapeake’s Earthsound Recording back in November 2016 and wrapped up back in April. Better Lives is a continuation of the band’s garage folk sound which is greatly improved by the addition of full-time guitarist, Zach Jones, who rounds out the group as a four-piece with Dan Avant on bass and Rashie Rosenfarb as lead vocalist/mandolin player. The songs cover a wide range of topics from growing up, to parental relationships and while some bands struggle to present such different topics through one cohesive album, Feral Conservatives nailed it. Rosenfarb’s melodic, soothing voice carries listeners through the album and makes every track easy to digest.
“I think we covered a lot of ground in a good way, but I think it also all melds together and makes a lot of sense in the track order and also the way it was mixed,” Francis said. The songs move into one another nicely and tell the story of maturing and finding themselves as a band and as individuals in adulthood. Better Lives showcases the artists’ different talents through songs like “Sun Room” which is more melodic, and “Sippin’ Slowly”, which is loud and filled with energizing guitar solos. Each member of the band wrote at least one song on the album, which contributed to its cohesiveness and artful demonstration of each member’s talents. Feral Conservatives also challenged themselves with this album. They explored other styles of songs with one written in 5/4 time signature and ended the album with an eight-minute shoegaze style song which was completely new to the band. “We’re looking to punch above our weight and to succeed in certain areas we maybe don’t feel we have a chance in, and I think that’s where the concept of ‘Better Lives‘ came from,” Francis said.
No shows on the horizon yet for the band, but your eyes peeled on RVA Mag for more the band. Photo Credit: August 16, 2017 Topics:,. Deep in the woods down a long, long gravel driveway off a long winding road in Varina, sits “The Shed”, the studio and hangout spot for. Now it may look a little rough around the edges, but once you step inside its filled to the brim with eclectic gadgets like a replica of the Star Trek captain’s chair replica, vintage guitars and other instruments, records and a compact practice space for the local young, aspiring three-piece garage/punk band. Fresh off a mini-tour, Black Naked Wings are on the move in Richmond with a new album, White Wall, and have recently partnered up with for their distribution. The young trio’s sound is that of a band which has been playing together for many, many years. And well, that’s because all three got a jumpstart on their musical careers.
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TJ Krivanec, guitarist and vocalist for the band, met drummer Graham Olsen in preschool and started cranking out tunes early on. “We recorded our first song at eight years old under the name black naked wings,” said TJ. “It was facilitated by his (Olsen’s) Dad and his dad played bass line, Graham chaotically slapped some drums, I did vocals and his little brother did some keyboards.” Ben Mattoon, bassist and vocalist and Olsen met after their dads, both of whom are in bands, started working together when they were younger. “Our dads started playing music together,” Mattoon said. Krivanec and Olsen continued to hone their musical chops as they grew older, but started getting serious about the gig when they were around 12 years old. “Throughout elementary school we continued to make these loose jams and songs with his dad, and about 12 years old I was playing the guitar very frequently, he’d gotten tighter on drums, we had about four or five songs,” Krivanec said.
As soon as they found out Mattoon owned a bass they decided to bring him into the fold and make a serious go of it. “We were hanging out with Ben and we taught him the songs and played our first show in a month,” Krivanec said. That very first song they did all those years ago, which was recorded in their practice space, Olsen’s dad’s shed, is also the last song on the album, the title track, “White Wall.” The band recorded the 11-track album in December at National Carriage Studio in Fulton Hill with mixing done by Bill Walker. White wall by Black Naked Wings The no bullshit, straight punk record is a followup to their 2016 EP, Demonstration and its raw, fast and loud with a few more mellow tracks thrown in here and there. And while not overly polished or clean by any means, this lo-fi garage rock record is the mark of a band that’s been hard at work on their craft and really has fun with what they do. “I feel like we’re going between these softer, lusher expansive jangly songs then harder heavier riff rock and roll, its mixing between the two. We’ve played so long with each other we know what we don’t like and what we do like and those things that we do like are always meshing together,” Krivanec said.
Most of the songs on the album the band has been playing for the last two years, but some are more recent. And as far as the writing process goes, Krivanec said it’s a collaborative effort. “Ben and I both play a little bit of everything and we do little bedroom recordings, but when it comes to the band, I’ll write a song or he writes a song, and once we start fleshing it out in here loud, we’ll be giving our ideas to Graham, we call him the wild card sometimes because he comes up withhis own idea halfway through,” he said. After finishing up the entire album over the course of just a few days in the studio, the band released White Wall in May.
“The whole album was recorded liveWe finished playing in two sessions,” Mattoon said. “Then it took another few sessions to fine tune things and there were some things we needed to fix.” “Time & Money” is a stand out for them as well as “Lost” and “Silver Tongue” (a bit of psychedelic/punk creeping in on this one, a personal favorite of mine on the album so be sure to give that a listen.) Mattoon said getting more involved with the local punk scene has helped their creative process since they started playing as a trio. “It’s changed a lot for us I think, and made us interested in different things; really trying to expand energy, and be able to let loose,” he said. Black Naked Wings have recently been playing at venues like Strange Matter and En Su Boca to carve out a niche for themselves in the local music scene, and like any up and coming gritty punk bands, they’ve also played their fair amount of house shows, something Mattoon said he prefers. “I think the shows that have always been the most fun for me are the more DIY shows,” he said. “We’re not afraid to play dirty house shows with bad sound.” A show last winter at En Su Boca helped Black Naked Wings get linked up with Tim Falen of local indie label Trrrash Records (Atta Girl/The Milkstains/ The Wimps), who is now handling all promotion for their album. “He did sound for us,” Krivanec said.
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“We kept seeing him around and he asked us to be on his label.” With a new album in tow, the band headed out on a mini-tour at the beginning of this month which took them to Raleigh, Charlotte, Atlanta, Nashville, Pittsburgh, and Charlottesville. The three prepared for life on the road last year before going out and playing gigs. “We did a road trip last summer just to see how we did for two weeks we went through New Orleans and Austin for awhile,” Krivanec said. Black Naked Wings will wrap up their tour this Thursday on Aug. 17 at alongside The Milkstains and Twin Drugs where they will be playing their new tunes. 7-10 pm.
May 17, 2017 Topics:,. For a band quintessential to the pop punk burst of the early 2000s, has been vigilant in its capacity for recreation – for holding true to a fundamental attitude, which could be described as sentimental amity behind an impish smirk, without epitomizing the sound that once made them the generators of angsty anthems like those from the 2004 album Is a Real Boy. There is something to be appreciated in the once progenitors of a genre no longer trying to “make the scene,” but mature into something more explorative, to take creative risks. It’s worth the legions of out-of-touch campaigners for a return to “the old sound” permeating throughout Facebook comment threads. Max Bemis, the artist behind Say Anything, has taken experimental liberties in the band’s most recent albums. “I think after we made Anarchy, My Dear I felt like I got a certain type of thing out of my system,” said Bemis regarding the band’s 2012 release. “We could have been the kind of band that just plays different variations of punk rock music.
A lot of bands have done that and that’s great, but I felt like there were more things I wanted to try and I wanted to get my lyrics across in interesting ways that kept people listening.” The follow-up to Anarchy, My Dear was the 2014 album Hebrews, Say Anything’s first album self-produced by Bemis. The album featured a variety of artists such as Keith Buckley (Every Time I Die), Andy Hull (Manchester Orchestra), Aaron Weiss (mewithoutYou), and Tom DeLonge (Blink-182) to name a few.
Hebrew’s greatest eccentricity, however, came from the absence of any guitars, instead being composed of orchestral and synth arrangements. Say Anything’s most recent release, 2016’s I Don’t Think It Is was a return to Say Anything’s roots in it’s punk drive and more bare production.
However, it was not without its peculiar arrangements, pulling much influence from hip-hop, or as Bemis put it in an with Noisey, “when you put on this record, it’s obvious I’m a 30-year white Jewish guy who listens to Kanye.” “I’ve used Say Anything to explore music I want to hear or I would find interesting,” said Bemis. “Because it’s easy to just dismiss a band that’s been at it for fifteen years or more and I think we’ve stayed a little more relevant because of that. Not to say that everyone loves everything we do, but I think there’s at least discussion over what we do and I think that’s indication that we’re not doing something completely obvious.” Bemis said that Say Anything already has the next album written. Tentatively to be release in 2018, the album will be a a concept record arranged differently from the band’s previous recordings. “It’s gonna be taking stuff in a new direction,” said Bemis. “But it’s gonna be also the closest thing in certain ways to Is A Real Boy that I’ve done in a while.” Though the music has found new territory, Say Anything certainly has no problem embracing the hits.
Bemis’ honest lyrics and personality in his music has always had a certain charm. Naturally, another generation has found value in the adolescent deliberations of Is a Real Boy. For Bemis, this is one of the most gratifying aspects of performing.
“There are teenagers there, there are people in their twenties and thirties and everyone seems to be enjoying it at the same level for different reasons,” said Bemis. “I think that it’s a really cool environment.” On Friday, May 19, Say Anything will co-headline The National alongside Bayside with support from Hot Rod Circuit. Doors at 6:30pm, tickets are $19.99 in advance and $23.00 day of show. Details. April 25, 2017 Topics:.
“If you hold my beer, I think I can make it,” I said to Ben. Handing him my beer, bracing myself with his free hand, I stretched as far as my legs would go to make it from the pillow on the floor up to the tiny recliner where he was perched, feet carefully up in the seat. When I made it without falling or touching the floor, the room erupted in cheers, friends holding beers up in a salute, the sounds of their yells echoing off the walls and out into the quiet 2 AM streets. The game is True American, and the floors are lava. This article was featured in RVAMag #28: Spring 2017. Or pick it up at local shops around RVA right now.
Take a snapshot of that room and you’ll find a group of professionals, late 20’s to early 30’s. We are two butchers, a graphic designer, two teachers, an adjunct professor, musicians, artists.
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This definition of adulthood I never could have predicted as I grew up watching my mom work as a nurse and go back to graduate school, taping soap operas during the day to watch on the weekends. Yet here we are, drinking and playing this terribly silly game, but not on a work night, safe in a friend’s house, a sober driver present for those of us who will be traveling out at 3:00, 4:00 in the morning, still laughing but tired. It’s this same kind of redefinition of old social norms, of doing things your own way, that leads me to a tiny house couched in the middle of the museum district to interview one of Richmond’s increasingly popular scuzzy rock ‘n roll.
Splatterday Nite by Cherry Pits Fish, a smoky gray cat who greets me at the gate, follows me up the stone path where Kyle Trax, the band’s drummer and current host, shakes my hand warmly. “Welcome to the Nugget,” he laughs, giving a sweep of his hand to show off the porch, where strings of lights give a glow to the worn, but comfortable, setting. Having only heard about the unhinged shows the give and seeing the obscenely irreverent cover art for their latest release, Splatterday Nite, I thought I would walk in, have to tease out something personal from some tight-lipped hard dudes disinterested in talking, maybe stretch to write a couple hundred words, but even those skimpy expectations were left at the gate as the band welcomed me into what felt more like a family reunion than an interview. Settling in with a beer in one hand and my notebook in the other, I asked one question: “How did you guys become a band?” For the next hour and a half the group talked nonstop, joking with one another, telling me story after story about the crazy stuff that happens at their shows.
Chris Jordan, the singer, guitarist, and primary songwriter, quickly moves from his move up from Alabama three years ago to recounting how he was once thrown through a table in the middle of a set. “The PA fell on my head, dude,” he says, perched on the edge of the couch, owning the room as his band mates and I laugh. “And the best part is Kyle’s mom caught my guitar!” he roars as we all lose it, his friends in nostalgic camaraderie, me in a kind of incredulous enjoyment.
If nothing else, this is a band that cares about the live show. While Kyle and Paul Kirk, the band’s lead guitarist and backing vocalist, recall a time when bassist Sean O’Dell was so drunk prior to the set he can’t remember playing, Sean waves his hands in surrender as the laughter dies down.
“Seriously, though, that doesn’t happen that often,” he assures me, as “no one wants to give that kind of show to our audience.” Fixing me with a pointed stare and too-serious face, Chris say, “Yeah, make sure you print this — we definitely do not do heroin,” starting what would end up being a running joke all night. Striking through these drunk tales, obvious in their conversation and surely at live shows, is a strong consideration for the audience and the experience they want to cultivate for their listeners. Listening through the six songs on Splatterday Nite, the band’s first solid release recorded by Tim Falen and put out by Jenny Records in Florence, Alabama, the energy of the tracks bursts through.
Lyrically accessible, as Chris writes about depression, losing lovers, all things anyone in the audience could connect with, the feverish delivery pushes through any downtrodden feelings those heavy subjects could call up in a listener. Short songs, each one its own blast of punk, rock, breathless kind of melodic scream-singing, make sense for the quartet, all of them tough, veterans of the music scene and lifestyle. Yet throughout our conversation the band makes it clear they take their music seriously, defying the stereotypes of punk musicians sloppily composing, slurring through sets, or fighting onstage. Regular rehearsals and nights spent writing and drinking at the Nugget have yielded this release with more tracks already forming for a second. Amidst the many tales of drunken parties, there is an unmistakable connection to the fans omnipresent whenever they talk about their work. The almost tangible appreciation of their live experience comes through best when Sean says, simply, “When you look out from the stage, we just see our friends in the crowd — people from other bands, people that keep coming to our shows, people coming in with touring bands we just want them to have a good time.” In a city raised on punk and metal, with all the trappings those scenes in the past call up, the Cherry Pits give rise to a new version of this kind of rock; partying, setting a rowdy stage at every show that never outweighs an awareness and love for the audience. Their redefinition of what it means to go to a wild punk show in Richmond throws their growing popularity into clear focus.
At the heart of every show, every recording, is a simple idea that spurs the band’s frantic rock. “This never gets old,” Kyle says, smiling at his band mates, “it’s just too fun.” image by Nick Hancock April 24, 2017 Topics:. With the release of their sophomore EP, RVA’s taps into a classic punk drive with a pop feel. Momentum does not waver through the five-song EP however, a dynamic rhythm section and thought out guitar thwarts any dullness. Clever Girl is made up of Ryan Cacophony (bass/vocals), Chris Durgin (drums), Derek Shelton (vocals), and Blake Mirzayan (guitar/vocals), and the band has been cranking out tunes in Richmond since 2014.
Shelf Life by Clever Girl A follow-up to their first EP Shelf Life from 2015, the band said Worst New Artist was a step ahead. Shelf Life came into fruition after a part with the band’s original guitar player. They immediately recruited Mirzayan, fresh out of college, “his final assignment”, Cacophony said. The band, which had been sitting on a year’s worth of material, were ready to head to Massachusetts and record a debut LP when they were thrown the classic member change wrench. However, Mirzayan and the rest of the band quickly found common ground and got to work on Shelf Life. “We all share the common interest of The Ramones, NOFX – the Epitaph Records, Fat Wreck Chords, sort of that era,” said Mirzayan. “It’s the kind of shit I grew up listening to.” Again having a full band and the material for the record, the band headed to Massachusetts to record with GodCity records, but it wasn’t exactly as they imagined.
Worst New Artist by Clever Girl “We got up there and our expectations of what we were gonna be able to get done dropped,” said Durgin. “Huge learning process,” said Cacophony.
“Totally put us in a place where it’s like, next one we do, we’ll do like six or seven songs and knock ‘em out.” Despite having 12 or 13 songs ready to go, the band was able to pump out the seven-song EP. But in any case, the long in the process album was a great debut and set the parts in motion for Clever Girl’s progress.
This time around, Clever Girl had over a year of building chemistry and navigating their sound. “Not only had we been work shopping the songs and had come together more as people, but also just had time to practice them, go in and knock them out live in a weekend,” said Cacophony. Worst New Artist was recorded live by Josh Scolaro at Scott’s Addition Sound and mixed at The Orchard, giving it the sound that the band had taken the time to nurture in their practice space. Clever Girl dropped the EP in early March.
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“I think Worst New Artist, recording it and hearing how good all of those songs sounded storied the genesis of our locking in as a band,” said Mirzayan. “Now that we’ve found that momentum I think it will be way easier and way better next time.” The undeniable chemistry of Clever Girl may also be in part due to the band’s alter ego, Good Cretins, a Ramones cover band of the same lineup, with Mirzayan taking the mic and Shelton on guitar. Nothing really builds a rapport in a band like letting loose on some mutually beloved classics. “We play the songs like how they would play them in the 90s, like the live speed so it’s way faster,” said Cacophony. Catch Clever Girl on May 18 at 25 Watt with Caffiends, Old Ghost and BrainBuster.