By Editor (Managing) and Correspondent: Robin Marschak   Thu, Jul 01, 2010

Have you ever had one of those days that you just wish had never happened?  Well that was how my day was going a couple Saturdays ago.  Nothing seemed to be going right all day.  And just when I thought things couldn't get any worse, I remembered that I was supposed to go cover a show somewhere out in the boonies of Mechanicsville.  To be honest I hadn't really done my homework for this show.  Normally I like to look up the band that I'm covering online: listen to whatever they've got on youtube or myspace, check out their webpage, just get a general feel for what I'm getting into, especially when it's going to be the cover story.  But in this case I was going in completely blind.  I knew the name of the band was the Velvet Nines and had a hazy notion in the back of my mind that maybe they had made an appearance in a past issue.  I later found out that they were part of the Rockitz Battle of the Bands finale.

As it turns out the Velvet Nines were exactly what I needed on this particular Saturday night.  We got there a little before the show, but soon the quartet was up on stage and ready to start the playing.  I was a bit skeptical at first based on their appearance.  Each member looked to be a stereotype of a different genre of musician.  At the back there was what appeared to be a typical metal drummer: Mike Rebich.  Off to the left was Nick Walker holding down the punkabilly guitarist look, while Mike "R2" Rezendes stood nonchalantly on the right looking like the bassist from a 70's psychedelic blues band.  And at center stage Jamie Eure was rocking out the grunge front man look.  While this disparity of appearance threw me a bit a first my skepticism was washed away the minute they started playing.

The show was the release party for the Velvet Nines debut album Fill the Void.  The idea was that they would play the entire CD straight through, but first they opened with a set of killer covers.  All of the songs were easily recognizable tunes from a broad range of rock and blues-rock.  From Hendrix to Pearl Jam and The Violent Femmes to Lynyrd Skynyrd.  It was a great set to get the audience hooked.  What really got me about this set was their ability to play each song in the original style, but still not feel like they were trying to imitate the original.  They made no pretenses about the fact that they were covering other peoples songs, but they weren't trying to be those people.  This stood out the most on their rendition of Hendrix's "Foxey Lady". No one can really even come close to doing what Hendrix could do with a guitar, and Nick did an amazing job of playing in the same style but differently enough that I was never forced to compare him negatively to the master.

After the cover set the band took a quick break before starting into their original material.  This was the part of the show that really impressed me.  First of all I liked the concept of playing the exact same material from the CD.  What better way to celebrate the recording of your best material than to play that same material.  The range of their original songs was almost as diverse as the covers that they started the show with.  From the funky "Downtown" to the classic hard rocking "Seventeen", the band members showed a real depth with their ability to play their respective instruments in whatever style fit the specific song best.  My favorite of their songs from the CD was "Why", a very basic rock song carried by a strong backbeat on the drums and bass.

The original plan was to play three sets, finishing out the night with a set of new material that is not on the CD.  But due to quite a bit of technical difficulty delays this third set was scaled back and tacked onto the end of the second set.  These songs were very interesting to me as they shed some light on the band's creative process.  The "third set" had much more of a jam feel to it.  You could tell that these songs were less refined than the ones on the CD.  Each musician was still figuring out how to best fit his part in with the rest.  Don't get me wrong the songs were all very much performance worthy, they just had a bit of a rough around the edges feel to them.

The Velvet Nines are definitely a band whose career I will be keeping tabs on and who I will be trying to get out to see as much as possible.  They were the perfect diversion to get my mind off of the troubles of the world.  By the end of the show I had completely forgotten about the bad day I had been having and was in a great mood.  That's what good live music will do, and these guys play some phenomenal music.  If you can you should check them out at the National on July 24, or at least get a copy of their CD Fill the Void.

          thevelvetnines.com
          myspace.com/thevelvetnines
                    facebook.com/thevelvetninesva

By Director and Correspondent: Helen Brown   Thu, Jul 01, 2010

Clifton - Magazine33 attended the 29^th Vintage Virginia Wine Festival at Bull Run Regional Park on June 5, 2010, hosted by Across-the-Way Productions, “a turnkey event management company located in the unassuming cultural hotspot of Floyd, Virginia."  There was something for everyone at the Vintage Virginia Wine Festival.  It was very well-managed, the hosts were gracious, the events interactive.  The talent was present in both the artisans and the musicians, and the wine and food choices were uniquely expressive and delicious!

It was a hot and sunny day at the historic battlefield when everyone came together to taste an array of Virginia wines that soothed the soul and aroused the spirits.  The ambiance grew consistently throughout the day, full of eating, drinking, and the merriment of gathering and absorbing the musical talent that resonated throughout the park.  The music lineup included the DJ Williams Projekt, Robert Jospe with John D’Earth and Royce Campbell, Big Sam’s Funky Nation, Karl Denson’s Tiny Universe, Magic with Krendl, the Monkey Man, Juggle This, and Butch Robins’ Imagicnation.  Along with this magical music fest, the wine that filled the palates emerged from fifty wineries throughout the state of Virginia, some of which included Veritas, Horton, Keswick, Cardinal Point, Barboursville, First Colony, and Blenheim Vineyards.  For a complete listing of all wineries present at Vintage Virginia, please visit their official website.

The morning started promptly at 11 AM with everyone readily awaiting the celebrations to commence.  Cars and trucks lined the park in rows, ensuring that the day was going to be crowded.   As the day started to progress, flocks of wine aficionados partook in the many delights of this colorful event.  There were all types of vending tents, including food, clothing, jewelry, assortments of wine-related housewares, and plenty of water for everyone that required sufficient hydration.  My particular favorite of all these was the food, which included hamburgers, hot dogs, french fries, funnel cakes, barbeque, crab cakes, and ice-cold lemonade.  As for the wines, there were many options you could sample - whether it was red, white, sweet, or dry!  I tasted an array of very nice wines that included a Riesling, Merlot, Cabernet Sauvignon, Petit-Verdot, Chardonnay, Viognier, and Pinot Gris.  The white wines, which were crisp and chilled, were especially popular that day.

For the young portion within the Vintage Virginia masses, I was thrilled to see child-friendly amenities so as to provide future wine and music connoisseurs a fun yet safe environment to exert their energies and capture their interests.  While the adults sat upon colored blankets that covered the ground of the Bull Run Regional Park, joyful melodies soared throughout the festival giving me a true sensation of summer.  The day seemed to turn the adults to children, as if compelling them to relive past childhood memories.  For anyone looking to expand his or her knowledge within the food and wine industry, it was informative as well as exhilarating.  The wine tasters were knowledgeable and remained patient with the many people surrounding the tents with countless, swirling wine glasses.  They remained enthusiastic throughout the day, although I am certain the activities and the heat seemed relentless and never-ending.  Thank you very much too all the partnerships of volunteers, sponsors, and coordinators for your involvement and tenacity that made such a wonderful day possible.  I enjoyed myself immensely, and I cannot wait to see next year’s lineup of activities!

By Editor (Managing) and Correspondent: Robin Marschak   Thu, Jul 01, 2010

Richmond - What can I say about this event that you can't get from the title?  Not much.  It was pretty much exactly what I was expecting.  And I was expecting a beer lover's heaven.  One hundred and seventy-seven different brews served under two giant tents on Brown's Island with a stage at one end for live music.  How could it go wrong?  The only drawback was the heat, and that's just part of living in Richmond during the summer.

The festival was run as a giant beer tasting.  Four hours.  One two ounce cup.  Unlimited refills.  There were an overwhelming number of different breweries and many of them were serving more than one brew.  There was the usual mix of American craft beers, but you can't have a world beer festival without having beers from around the world.  This festival did not disappoint.  There was a huge selection of beer from throughout Europe as well as brews from Asia and South America.  I loved the Yanjing beer from China and the Skullsplitter from Orkney.

Unfortunately, most of my audio notes after the first half hour or so are merely slurred gibberish, so I can't do much critiquing of the beer selection.  I'll just say that there was pretty much every type of beer you can think of.  From hefeweizen to porter to pilsner and definitely plenty of IPAs.  There were lagers and double stouts, ciders and doppelbocks.  There were even monastery and monastery style ales.

Of course beer wasn't the only reason I was there.  This is a music publication after all.  But please don't hold it against me if most of my attention was held by the 177 taps that were down the island from the music.  For that reason, I was somewhat disappointed with the layout of the festival.  Having the stage at the far end of the island made it difficult to indulge both my desire to continually try new beers and my desire to listen to the music.  I think the festival could have benefitted enormously from having the stage set up with the food somewhere in between the two beer tents.  That way patrons could enjoy the music while strolling back and forth between the various breweries.  That being said, the music was definitely worth checking out.  All four bands that played are well-respected local bands.  The first session was accompanied by the sounds of Barrelhouse Blues Band and the Atkinsons, while the evening session featured Horsehead and the Dirty Truth.

The whole things was a real blast and I would definitely recommend going next year if you missed it.  If you did make it out this year then I'm sure you are already planning to be there in years to come, so I'll see ya there.

By   Thu, Jul 01, 2010

Charlottesville - When someone asks me to go see a cover band, I anticipate 1) a trudge down Rugby Road to a frat house, and 2) a plethora of mediocre Sublime covers.  In these expectations I am almost never wrong.  Still, even the most clairvoyant of us have off days, and Friday, June 4 happened to be one of mine.  Jamal Millner and the Comrades – definitely not frat boys, it turns out - blew my cynical formula out of the water.

To my knowledge (and to my relief), the Comrades did not play a single Sublime cover…or did they?  I could have sworn that The Hook promised me a cover band, but each time a new song commenced I had to look around to see if I was the only one wracking my brain for the name of the  original.  The Comrades, with their combined 10,000 years of experience, know  how to rock a cover so well that their audience cannot immediately locate its prototype.  The Clash is and always will be my favorite band, but even I did not recognize "Junco Partner," which the Comrades opened their set with.  Rather than adhere to a verse-chorus-verse structure  favored by composers the world over, the Comrades alternated vocal with instrumental sections - a feat only feasible for very, very good musicians.  Whereas some groups rely on melodic vocals to carry the song, the Comrades pulled off instrumental “verses” without beat ing to death f amiliar, appealing progressions.

Another refreshing departure from the norm: no guitar diva!  Somewhere along the line (I blame Jimi Hendrix), modern music decided to favor the guita r above all other instruments.  Sure, they permitted a drummer, and every now and again, a keyboardist to share the stage, but the rule always seems to go: when in doubt, play a guitar solo!  I happen to be a die-hard bass fan, and lucky for me, so is Jamal Milln er.  Though the Comrades featu red their guitarist on many an occasion, they also managed to showcase their bassist and drummer.  Also, rather than isolate an instrument during its moment in the spotlight, the rest of the group filled in the sound.  All too often I peer up at the stage, perplexed as to why the guitarist has chosen this instance, when his bandmate has a solo, to pound his beer.  Each one of the Comrades remained engaged, and actively so, throughout each and every song.  No on e ever receives accolades for exceptional background music, but that kind of comradery (hehe) nevertheless deserves a small round of applause.  

Having sung the praises of the group as a whole, I must devote this last paragraph to the female vocalist.  Before launching into “I Never Loved a Man,” she demurred, “Only Aretha does Aretha.”  Whatever.  This woman did Aretha better than I have ever seen her done before.  Who says white girls can’t sing soul?  Hillary Fox possesses one of those rare voices that stands apart from her person.  You do not care if she is beautiful or homely, fat or thin, white, black, or purple - she captivates you.  To introduce one song she purred, “I’m going to channel my inner goddess, my lusty goddess.”  I saw a  television show recently in which the population of a whole town falls under the spell of a hedonistic goddess, and everything degenerates into a sensuous bacchanal.  Ms. Fox’s performance that night conjured an eerily similar mood.  Her voice is HUGE, but she controls it without any apparent effort, and she intoxicates her audience with palpable emotion.  A singer myself, I felt humbled - nay, privileged, to see her perform.  The Comrades will impress the hell out of you, but Hillary F ox will take your breath away.

Jamal Millner official website

Jamal Millner on MySpace

By   Thu, Jul 01, 2010

Richmond - Magazine33 attended the 2010 Richmond Vegetarian Festival this year Held at Bryan Park.  We set up a tent at the event, putting festival participants in a photo shoot and featuring them in this issue - check out the slideshow below.  The event turned out to be phenomenal.  Upon arrival, they welcome you with a bag and pamphlets on the vegetarian lifestyle and samples of vegetarian food as well as a map to guide you through Veggie Fest, which had various vendors set up and music playing on stage including a belly dancer during intermissions.

If you are wondering what Veggie Fest is, it’s simply a festival celebrating the vegetarian lifestyle.  You don’t have to be a vegetarian to come to the festival; however, they do promote the advantages of being a vegetarian.  There were speakers and several vendors set up giving out information on healthy eating with free samples, and they even had a booth set up boasting an energy drink, XS Blast, which is not made up of sugar or caffeine, but of Vitamin B12.  They let you take a sample of the energy drink, and to my surprise it didn’t taste like pure sugar like most do.  They raffled a case of XS Blast and to my surprise we won the raffle.

There were lots of animal rescue groups at the Veggie Fest this year, and you could even adopt a dog or sign up to foster a pet at this event.  They had free health care and animal care specialists to provide information and answer questions.  There were quite a few pets with their owners, as this was an animal friendly event.  Pit bulls seemed to be the dog most in attendance this year.  There were wildlife and nature conservationists also in attendance this year.  Friends of Bryan Park had a booth with a multitude of information on their foundation.

There were booths for yoga and meditation to help you get to your inner sanctuary.  Plenty of fun for the kids included the moon bounce and pumpkin patch bouncy house.  Captain Rex from Star Wars was there greeting the kids with light saber in hand.  There was also face painting; the kids could blow bubbles and color and do crafts.  There was a booth promoting peace and non-violence through educational programs for youth dialogues.  There were booths on gay rights, education and support such as GLSEN (Gay, Lesbian, Straight, Education Network).

The music at this year’s Veggie Fest was sure to keep you hopping.  Haze and the Transients was the first band to perform, and Unity Sound was second of the day.  Cha Cha’s Cadillac brought back the oldies and had the crowd dancing.  Riverside Drive was the final act, and brought a nice touch to the end of the day.

Richmond Vegetarian Festival

Special thanks to Debra DeSouza Bean

By Correspondent: Mike Blackmore   Thu, Jul 01, 2010

Fredericksburg - I had almost been disappointed by not being able to attend the Fredericksburg Diva Party that I heard about on the radio.  I then remembered I was going to see local rock bands at the Fredericksburg All Ages show at Eyeclopes.  Every young man in a rock band since 2001 has been prone to mood swings, has had a Justin Bieber haircut, and has used Baudrillard aphorisms desperately out of context - tonight’s show was going to be a diva party in it’s own right.  The only recourse I had left was to put on my lavender t-shirt, Italian leather jacket, Robert Pattinson haircut, and place Theodor Adorno’s Minima Moralia: Reflections on a Damaged Life in my back pocket.  After spending half a decade at the University of Virginia writing arcane essays that philosophically justifying throwing spoons at the wall and screeching like a monkey as musical performance, it was time to return to rock ‘n’ roll.  Then again, rock ‘n’ roll may be nothing more than a screeching monkey’s temper tantrum.  Unfortunately, I ran out of mascara for my rock adventure after a disastrous weekend spent as a drag queen nurse somewhere at a Marine bar in Stafford.

We’re in a tight spot - tonight’s photographer bailed, and I have to capture this with the written word.  Perhaps it’s for the better.  Photographs are always better without humans.  However, the exception may be photographing musicians.  But even then, you’re not really photographing humans.  Musicians are animals.  For all the guys performing at the Fredericksburg All Ages show, allow your Uncle Mike to make some observations and express some ideas about age and music.

Other band members, please take no offense.  My mind works obsessively, and once I focus on the minutiae of one musician, I tend to cast aside what else is working around him.  This isn’t intended to slight the talents, work, and charisma of the artists that share the stage; more often than not I fixate.  Don’t be put off by my pretentious nature that I have acquired with age.  I have a habit of being snarky and self-indulgent and that’s why I don’t know your names....but I do find your musicianship fascinating.

Remember Those Words’ synth player tapping on the Alesis makes for an interesting starting point in my showcase of case studies.  Youth is on his side, and this goes one of two ways after thinking about the timbres, textures, and melodic motifs he has performed.  Actually, his playing, performance, and composition depends on his next three romantic relationships.  I appreciate the synth pads and new wave motifs he executed - there’s a groundwork for a sound that will evolve.  After the next three romantic relationships, if all is well, he will evolve toward a glistening warm aesthetic - optimistic and hopeful - channeling the works of playful synth pioneer Brian Eno.  But, at the same time as youthful innocence has it’s charms, some of the overtones in the timbres from his playing indicate, though undecided, the potential to take a darker turn.  Depending on how many Remember Those Words’ songs aren’t actually remembered by the ones they are written for, therein lies the potential to turn toward the dark and subtle aggression of Alessandro Cortini’s synth work.  All is fine and well and playful with MGMT and Passion Pit covers (these kids probably don’t know John Hughes movies or Simple Minds’ “Don’t You Forget About Me”), but if things fall apart, this kid will start wearing black and smashing the piss out of expensive synth equipment.  It is too soon to make any definitive statements about this kid’s future, but either path is a possibility.  Synth players are like sociopaths, no one quite knows what’s going on behind the eyes.  Pay more attention to the timbres and texture for insight into their inner workings.

Basic Needs’ guitar player, for your blues shuffle soloing, I implore you, pinch and squeal more notes.  The technique will evolve into you controlling chaos.  At that point, you get to play God.  Don’t fear misplaced notes, and don’t get overly comfortable going up and down blues rock scales.  When something wants to howl and screech, let it.  Untapped sonic beauty and potential resides in the "ugly" notes.  A couple notes were pinched in the soloing through the first two songs and it sounded exciting.  Stop taking private lessons, grow your hair even longer, and cop an over-sexed attitude like early Zeppelin.  Your Uncle Mike foresees great things.  Next time you need more level from the sound board and the technician is not giving you proper attention, make it an imperative and not a shy request.  You’re a rock star, and you’re supposed to always get what you want.

It all just got a little more surreal before Circus Circus.  A mustached, mod squad burglar-bandit donning patent leathers took the leap from a Pink Panther film and landed at the FAA show.  On to the next case study in this venue that has become Pee Wee’s schizophrenic nightmare playhouse....

Circus Circus’s guitar player dresses like David Byrne, and moves and navigates and manipulates the stage like Aaron North.  He sounds like the bastard child between Glenn Branca circa the ’77 loft solo and the Edge and his shimmer.  Gristled, distorted thumps juxtapose delicately crafted arpeggiations.  His sound represents all the heart, hate, and passion that should in fact come from a guitar.  Most pleased.  Trust your Uncle Mike on this one.  This kid needs to explore sonic possibilities.  I’d probably buy him a pack of cigarettes and pay him 20 bucks if he’d sit around with me and let me guide his mind to where his sound unfolds and touches on the logical conclusion of art, experimentalism, and rock; ethereal sounds, ambient space, texture.  No riff, no chord.  Sound, shimmer, space.  What an exciting young musician with potential.  In the future, his sound will warp and woof into the ether.

The last band to perform was the Trillions.  She loves you yeah yeah... yeah, yeah, yeah, we got the message 50 years ago.  For the Beatles hanger-ons, Depeche Mode was always cooler and means more anyway.  Trillions, you have grown too comfortable in your element.  The show was too safe for performer and audience alike.  Perhaps a few shows in Stafford having half-wit locals throw beer bottles at you will awaken the animal inside.  Your haircuts and harmonies are cute, but everything came off too complacent.  I want to see hunger in my performers.  I know a gig is a gig, but the audience was glazed over like it was a church barbeque.  Even Uncle Mike could act super cool DJing Sweet Sixteen parties (in fact, I have).  At least with the younger bands on the bill, when they botched a note, you could see internal conflict as to whether or not the unintentional improvisation was the right thing to do.  You weren’t hungry, and I like it when musicians are starving animals.  I’m goading you because I think you have talent.  Your songs are strong and your musicianship is superb.  I want you to see what’s out there on the periphery...your personal limits.  If you reach those limits, then you’re knocking on the door of finding a stronger voice for your aesthetic.  That’s when the music gets exciting for both performer and spectator.

If 30 is the new 20, we’re all going to be at this for a long time making a lot of noise and hopefully agitating a few people in the process.  Your Uncle Mike is 37 and still doing this.  Music writer Dan Kennedy laments, or is at least curious, why no one starts a band at 30.  I suppose since I’m 37 I must start my band before 40.  When did rock have an age restriction?  When did the "burdens of adulthood" come into play?  "Adulthood" is just as much a bullshit concept as "youth culture."  Children of feedback, keep slamming your heads against the wall.  Fredericksburg All Ages was a good show, and agelessness synthesized with a music culture is a concept that keeps people vital and sometimes sane.  (Sometimes we fall off the wagon - probably more than once. It’s devilish fun to keep sobriety and sanity tentative.)  I always thought the idea of a "youth culture" was a scam.  It ended up killing James Dean, and left us with the moronic apes from Jersey Shore.  All’s well that ends well in the land of jackals and honey - it’s good to be home in Virginia’s District 1 writing about music from the District 1 Center for Electronic Music.

By   Thu, Jul 01, 2010

City Dogs was jam packed the night of Magazine33’s  Veggie Showcase33, with many of the great music lovers of the city relaxing, hanging out and dancing the night away.  Patrons could pay the small cover charge, or bring in a can of dog or cat food to benefit the Richmond Animal League (RAL).  By the end of the night, there was a small pyramid built up by the door!

Ben Butterworth started out the night with his mellow acoustic sound.  Barefoot and passionate, he serenaded the crowd with his original tunes.  Ben has a lot to do with the upcoming Elysian Fields Festival taking place August 6-8 in Boyce, Virginia.  It is a gathering of friends that is a celebration of the relationships in life that make us happy.  I can't wait to go check that out, especially if I get to see more of the Ben Butterworth experience and get into the flow of his sound with friends.

Next up, Jamnation.   These guys brought the high powered energy on in.  The waves of music began to flow over me and I turned back to see what was going on!  The horns...the guitars...and my eyes went straight back to the drummer who was pounding roughly, yet eloquently on those skins.  As the night went on, the sweat poured, and the Jamnation crew got tighter and tighter.  A great combination of communication, flowing music, and technical ability, it was quite an experience to watch each component of their groove and then refocus to watch it all go down together.

The City Dogs folks kept up with the crowd and made sure that everybody was happy and well taken care of throughout the night. 

THE NEW BELGIANS took the stage.  Their smooth tunes carried the crowd through the rest of the night.   By the time they were done, the dance floor was filled with enthusiastic fans.  Sweet and tasteful grooves spanned through the songs.  I love how they all fit together musically, smooth to say the least.  The songs are reminiscent of decades ago jazz -  funky, and yes, soulful.  They are serious about their moving craft, and this intention bursts out through the horns, the bass, the keys, the guitars, the percussion and drums. 

Whenever you see a bang-up band live, something really cool happens.  As you watch, you can see that they are individually listening to their bandmates' signals like a satelitte dish; simultaneously they each are projecting their waves into a unified, moving sound picture for the crowd.  THE NEW BELGIANS were this concept in action.

Thank you City Dogs, for hosting a wonderful night of music and friendship!  The Veggie Showcase33 gathered about a 80 cans of dog and cat food for the RAL.  Thanks to Ben Butterworth, Jamnation, and THE NEW BELGIANS for giving the peeps the gift of your music, and thank you Matt Sthreshley for pulling it all together!

By Director, Genre Lead, and Editor: Andrew Wolfe   Thu, Jul 01, 2010

Chesapeake – Deep in the creek (haha) I find myself at a home-away-from-home for hooligans and miscreants.  It could have been any punk house in New York circa ‘79 or San Fran in ’81: drunk punks, beer bottles, miscellaneous debris, and, of course, the inevitable cache of beat-up guitars, amplifiers, and a well-worn drum kit.  Around me in a semi-circle on the few miscellaneous chairs of indeterminate origin and one ugly-as-sin couch sit the various members of one of the hardline of Seven Cities punk – Capital Crisis.

We have Liam, laconic but well-spoken when he chooses to add his two-cents and one of the two singers of the band; Joe, the guitarist, with his mile high mohawk, visceral guitar chops and subtle bluegrass/country influences; Jake (he beats the skins); Jewey, the dreadlock demon of their pounding bass-lines; and Nick, quiet here but guttural fury unleashed on an unsuspecting audience any other time. 

So where to begin?   Ah yes…

Step 1: Introduce Yourself.

33: Alright, so how did this all begin?  How’d y’all get started?
Jewey: Let’s not go there actually…

33: Oh but we must, we must…
Jewey: Joe is technically the only original member.
Joe: I am the only original member.
Jewey: It’s been a long hard road for Capital Crisis…
Joe: The band has gone through a buttload of name changes and lineup changes.

33: What did you start out as?
Joe: I don’t even remember.  Too long…this was about three years ago.
Liam: I’ve been in the band for about 11 months.  I think I joined in April so, yeah, no!  Over a year!  Holy shit…
Jewey: You joined after we did like five or six good shows.
Liam: I joined after the underground, uh, “noise release.”
Nick: I showed up right after the Agent Orange show.
Jewey: Yeah, when we kicked out our old vocalist.

33: What happened with the old vocalist?
Jewey: We’d rather not get into the whole detail...things just didn’t work out.
Joe: Creative differences…

33: What are your biggest influences in how you play, how you sing…?
Nick: Midgets.
Liam: Midgets.
Joe: Hank Williams III.

33: Hank 3 is awesome. 
Jewey: I don’t know, I mean, I play everything, listen to everything, except, like, gangsta rap.
Nick: I’m down with the crunk rap.
Jake: The whole band has influences from the Unseen to the Casualties.
Liam: Honestly, we have a lot of different creative differences.  Joe listens to a lot of country.  If you listen close there’s a lot of country rhythm I guess you would say involved.
Joe: In my strumming pattern.  Johnny Cash for sure.
Liam: You got Nick who his background is all grunge; Nirvana, the Melvins, Mudhoney…you know, all the old shit…

33: That whole Seattle story…
Liam: Exactly.
Nick: I actually lived in Seattle for a little bit, too.
Liam: Then we got Jewey… this dude just listens to a lot of different shit.
Jewey: Me and Jake started out playing a lot of indie [rock].
Jake: Yeah, we did a lot of indie.  Punk just has more of that kick ass in your face feel.

33: Well, with this myriad of different influences coming together what would you define your style as or do you prefer to use a definition at all?
Liam: Sheer fucking chaos.
Jake: We have songs that sound completely different on our album that we have out.  You listen to one song…
Jewey: And it sounds the same as the next one.
Liam/Joe/Nick: [laughs]
Jake: Not really.  You take songs like “Now’s the Time” to “Heist” or “Scum of the City”.  It’s two different feels…
Joe: I guess we’re like street punk and thrash punk.
Jake: A good mixture.

33: And what would you say separates your sound from the herd of copycat insta-punks, that “I Got my t-shirt at Hot Topic” shit?
Jake: We haven’t sold our shit at Hot Topic yet.
Jewey: Not yet.
Jake: We get paid in subs.
Jewey: We get paid in subs!
Jake: Those are fun shows.
Joe: We’re planning a Zero’s Sub Tour.
Jewey: We’re playing every Zero’s on the east coast…
Jake: I’d buy a sub if I saw some kick-ass punk band standing there eating it on a poster.  I’d be like, “Sure, why not?”

33: Fuck Jared.  Fuck Subway.  Zero’s: the true punk rock sub.  Awesome.
Jewey: We play what we want to play.
Joe: Well we play what we can, and it just happens to turn out like this.

33: All you need is three strings and two fingers and you got it…
Joe: He doesn’t even really play bass…it’s just like…spoons…
Jake: Are we supposed to tell the truth?
Jewey: They can’t handle the truth!

Step 2: Leave Something for the Kids.

33: Alright, speaking of Hot Topic and all the fashionably punk aesthetic kinda thing…back in the origins of punk rock, it wasn’t just a fashion statement, it had a meaning.  It was a call to arms for a young generation who felt disenfranchised, who felt the generation gap was a lot wider than it had been ever before, so…
Jewey: He’s not reading this off a script by the way…hope nobody’s thinking that at home…

33: Does any of that still exist in the scene or is it just a place for posturing or the “punker than thou” mentality?
Joe: Can you repeat the question?
Everyone: [laughing]
Jake: There’s a lot of DIY stuff going on…
Liam: I mean honestly, the scene is as strong as you make it.  If you got splits in scenes then obviously you’re going to have your different sects, and you’re gonna have this crew beefing with this crew.  It’s kind of a shame, ya know?

33: Is there anything to it or is it just posturing, like wearing the clothes just for the look…
Jewey: You got a few people like that but…
Joe: I just wear what’s comfortable.
Jewey: As you see, some of us don’t look really too punk rock.
Joe: Jake rocks Pumas and basketball shorts…
Jake: Damn right, dude, I wear Pumas and basketball shorts every fucking show we go to.  I look like a kid who gets out of the chess club…I’m a bro man, “What’s up bro?”
Jewey: Brohemian rhapsody…
Joe: Marilyn Mon-bro…
Jewey: Bro-ver Cleveland…
Jake: It’s definitely not like, “I’m gonna wear this because everyone else is wearing this.”
Nick: It’s kinda like the clothes just appeared at my house.
Jewey: (to Nick) Are you wearing an Obama shirt, dude?
Nick: Yeah.

33: Alright, a question that kinda leads out of this talking about the older generation of punk to the newer punks: How do you think your kids are gonna come up?  Let’s say, for example, how do they rebel against their parents?  What do you do when your daddy’s a punk rocker?  When your dad’s got fucking piercings and tattoos and…
Joe: I think they’re going to be half-Satan.
Liam: Yeah, I got a little boy of my own.
Joe: I mean, apparently each generation is worse and worse, and if I had a kid worse than me...
Jake: I’m scared, my kids going to jail for sure then…
Jewey: I’m not a bad person…
Jake: I don’t think you have to pound it into the kids you have to be, you have to do this.
Joe: I rebelled against my dad, that's why I don't live with him anymore.
Jake: This is true...
Joe: My mom is a punk rocker at heart, she just don't know it...

Step 3: Find a place to play.

33: Let's move on to venues you like to play...
Jake: Half Shell!

33: That's just what I was going to say, the Half Shell died, what happened?  Even Gil's…
Jake: Gil didn't want to buckle before the Half Shell, so when the Half Shell shut its doors, Gil threw the towel in.  Now, from what I’m understanding, probably later in the summer, Gil's gonna open another place up, probably a smaller venue but still do the same thing.
Joe: Gil's was my first place I ever played a show.
Jake: All the places we had when we first came out are dead...Phil's, dead...Gil's, dead...the most historic shows we ever played besides when we played at the NorVa with Jello Biafra.

33: Nice.
Jake: That dude was cool…
Jake: Half Shell with Murder Junkies...we played that...we played with DRI at Gil's n' shit…
Joe: Besides the Regal Beagle and the Jewish Mother we only can play...
Jake: Underneath a bridge and at Zero's subs.
Jewey We'll work for subs...
Joe: It's getting cooler...everything is getting more underground.

33: So yeah, it is kinda reliant on the scene to reinvent itself with the venues.  I mean, I remember back when I was going to shows back in the mid-90s, I went to a lot of hardcore shows at stuff like Moose Lodges and Ruritan Clubs.
Joe: I actually played a show at the Moose Lodge.
Jake: We played the Kempsville Ruritan Club.
Liam: Adam was a pretty cool dude...
Jake: We got like, we were playing the American Legion Hall with Long Drop in Connecticut, so everywhere is doing that.

33: So where is your favorite place to play other than Zero's?
Joe: The Bridge.
Jewey: The Bridge.
Jake: The Bridge...
Liam: Before the Half Shell closed I'd probably say the Half Shell.  That was our favorite place.

33: There's something about it, it had horrible sound and it was cramped and...
Joe: They let you do whatever the fuck you want...
Jake: Brian's a cool dude.

33: It really had a good ambiance.
Liam: It was a fuckin’ dive bar - that's what was so awesome about it.
Joe: We got to play with what the Murder Junkies and Agent Orange there.
Jake: Gil's was good when you could mosh...they got too strict there.  Playing with DRI no one could move because nothing could get broken.
Jewey: That place was gonna get trashed if we weren't allowed to move.
Jake: Oh yeah, we were fuckin' pissed when Jason from Stuck Backwards broke the monitor...fuckin elbow dropped that shit...but like the Bridge, definitely in Virginia Beach...but we can't tell you the exact location…

33: It's top secret.
Jake: We get a lot of bands coming through, ya know, big bands that need a place to play instead of going through a venue...free show at the Bridge donations accepted, but, ya know what I mean, we brought the PA with the generator.
Joe: It's broken.
Jake: Yeah, but still...Wolf's Tavern man, yeah.  It’s a name dude, no one knows about that…

33: Speaking of the bands you played out with, any favorite bands that you played with?
Joe: DRI was probably our favorite.
Jake: Green Jello was fun, those guys…
Jewey: Street Dogs!  Fuck!
Joe: Agnostic Front, too.

33: You mentioned earlier you have an album out?  EP?  Full length?
Jake: EP.

33: Tell me a little bit about it...
Joe: It's called Scum of the City.
Liam: Talking about the idea behind it?

33: Yeah, what’s the concept behind it?
Liam: Honestly, I don't think there really was a concept behind it.  The Scum of the City was basically written about Pat Robertson, this is like his backyard where he has his little grubby hands on everything.  You know with the censorship down at the oceanfront…

33: Any favorite songs? Any crowd favorites?
Everyone: "Heist!"
Jake: It's our hit single.  Everytime we play that song…
Jewey: You make everything we do sound so gay!
Joe: Uh, we're looking for a drummer...
Jake: Fuck you guys...
Joe: That isn't homosexual...nothing against homosexuals, just against this particular one...

Step 4:  Insert Tab A into slot…huh?  Oh yeah!  The Lightning Round!

33: We'll close this up with just a quick Lightning Round, free association kind of questions, just quick, spit out the first thing that comes to your mind...Frankenberry or Count Chocula?
Jake: Count Chocula.
Jewey: Count Chocula.
Joe: Count Chocula.
Liam: Count Chocula.
Nick: Count Chocula.

33: Black Flag or Minor Threat?
EVERYONE but Joe: Minor Threat!
Joe: I'd say Black Flag.

33: A little diversity in the band there...
L: I do not see how you can't stand Fugazi...
Jake: Fugazi is great man…

33: Favorite Ramone?
Jewey: Joey
Liam: Joey...no!  Fuck it.  Dee Dee!

33: And one final question: how many straight edge kids does it take to drink a six pack?
Everyone: [Silence]

33: Only one as long as his friends aren't looking…

Whether playing under a bridge or rocking you local sub shop, these guys deliver the goods.  So beware Jared!  Subway ain’t the only game in town.  There’s a new elite of sub-shop chic…we call it Capital Crisis.

Capital Crisis on MySpace

By Director and Correspondent: Helen Brown   Thu, Jul 01, 2010

Charlottesville - When Josh Slack, a New York native, performed at the Box on May 16, 2010, I was surprised when I observed unexpected originality; a new sound, a new style, and an element of musical sharing within his performance that was stimulating and refreshing.  The venue where they performed was a smaller place - a hip little sushi joint operated and managed by Chaz Webster.  When I first walked through the doors, there stood an exceptionally grand picture of Miyagi from The Karate Kid that grabbed my attention immediately.  Apparently, they also possess the theme “Where the Wild Things Are”, which is embedded on the t-shirts they sell to admiring customers, and which I actually ended up purchasing myself.  The servers and bartenders are engaging and friendly to anyone who chooses to take a seat that adds to the Box’s personable and energetic atmosphere.  Despite its smaller size, it makes absolutely no difference; it packs a range of people, performers, and surprises that provided an eclectic melting pot, especially for everything that took place on that warm, sultry night.

The evening began with Josh Slack (guitarist and vocalist) and Michael McCue (drummer) playing together for the first time!  For two people that had never played together, they seemed to connect and produce something original and cohesive.  Their sound was a mixture of multi-dimensional elements that swirled around the room like flying butterflies, fluttering in each corner as I desperately tried to focus on how I could describe what was taking place.  However, the band Slack does not have any particular label or genre.  Just when you feel as if you recognize influences such as Radiohead or Smashing Pumpkins, within an instant chord change the feeling transitions to influences and similar sounds found among artists such as Lenny Kravitz and Jack Johnson, as well as psychedelic rock beats comparable to the Doors.  Slack’s songs intertwine smooth harmonies, melodies, and insightful lyrics that work well together and are extremely in sync with the drums' rhythmic elevations and perfect timing.  Once you listen to his tracks that include "Prisoner," "Saturday Night," "57," and "The Air in Between," you understand!  The two-piece band filled the space with just as much resonance as a trio or four-piece band.  Their electric rock ‘n’ roll energy mak e up for what they lacked in amount of band members and additional instruments.  They are complex and raw, yet simple and smooth.  Josh and Michael have a collection of talents and abilities that surprise you and leave you wanting more.  Josh plays his guitar with strong will and purpose, and Michael’s decisive drumming movements really started the night off beautifully.  It is interesting to note that Josh, in fact, first started out as a drummer, which he gave a taste to the audience as well.

This story takes a turn because there were three unexpected occurrences during the performance.  The first was during the second set.  Two sax players, James Massenburg and Kennan Stanley-Bey, with their saxes in hand, were walking by the Box at the same time when Josh and Michael where playing.  After this, by some streak of luck, they ended up joining in with Slack, which gave the entire night a different swing and changed the course of sound and style structure.  I started noticing blues, funk, and reggae beats that had not emerged before, not only due to the two new additions, but also due to Josh and Michael adjusting their capacities and changing their musical pathways.  You could really see the creative process take flight and see the music’s evolution.  Another unexpected event was how they jammed together; changing, alternating, and molding into the music that started evolving.  One note would fuel another note, and another, and then another and it was entirely impromptu.  This is, along with the spontaneity of Massenburg and Stanley’s guest appearance was something truly special to witness, and what is special about the Charlottesville music scene in particular.  I was impressed unexpectedly.  When bands push the limits of what they have produced thus far and allow others to add their own input, it enriches musical expertise and creates an expansion of musical insight.  This is also pertains to Josh’s wife, Diane, who inserted her music knowledge with the percussion, adding a much-needed “sting” to McCue’s deep, penetrating rhythms, Josh’s quick and heated guitar chops, and those sexy saxes.

The last surprise of the night was when Travis Elliott performed a rendition upon the guitar as the concluding act.  He was one of the performing acts at the Magazine33 Launch Party, and I had seen him play one other time at Ventana, another local restaurant in town.  That was also out-of-the-blue and further reinforced the feeling of “musical sharing” that I love to see at moments when you least expect it.  It was nice to see him bring his unique flavor and energy to the already eventful evening!  Along with the performers of the evening, I would like to give credit to the fans as well.  I love to see the audience, not only enjoy the music, but also truly appreciate what they are hearing, which was definitely the case!  Reviewing the show at the Box, there were so many different complexities that graced my experience of witnessing the outstanding renditions of Josh Slack, Michael McCue, James Massenburg, Kennan Stanley-Bey, and Travis Elliott.  Be sure to look for them in the surrounding areas for future spectacular performances.  For further show and restaurant information at the Box, you can call 434-970-2699, or be sure to explore their location at 109 2nd Street, Charlottesville, Virginia, 22902.  Thank you so much to everyone for such a good time…the music was sweet, the place was sweet, and I will definitely be revisiting the performers and the Box in the future.  See you around town…

33:  What artist/artists have inspired you and why?
Josh Slack:   Nirvana, Andy Warhol, Radiohead, James Dean...artists willing to be completely honest in their craft.

33:  What are some artists that have influenced your individual style as a musician?
JS:  Scott Weiland from Stone Temple Pilots, David Bowie, Jack White, Johnny Cash, the Flaming Lips to name a few.

33:  You said you first started out as a drummer and then became a guitarist...What changes as a musician did you go through making that transition?  How does the guitar suit you as opposed to the drums?  Does one instrument suit you better - if so, why?
 JS:  I have always thought as a drummer.  I approach everything rhythmically.  Drumming just makes sense to me.  The mechanics of the guitar have always fascinated me, and when I was 18, I really dove headlong into it.  It facilitated me as a songwriter and gave me the mobility I wanted on stage as a performer.  Neither one suit me better as a musician, they both serve as a release equally.  It is like asking a parent who their favorite child is.  If I could play them both at the same time, I would.

33:  What have you taken away from being a guitarist?  What have you taken away from being a drummer?
JS:  As a drummer, it allows me to control the flow of the song, the dynamics of the song.  It is one of the only things I know that allows me to hit something as hard as I can without being beaten up or taken to jail.  As a guitarist, there is finesse; there is style and grace. You can be standing completely still, moving nothing but your fingers and generate huge sounds.

33:  How would you describe your creative process when constructing song?
JS:  Most often, it starts with a guitar idea, and then comes a melody line.  With some development and an anticipation of where the song should go, I bring out the emotion of the song the structure generates.  By this point, I can usually hear the full production of what I want the finished product to sound like in my head.

33:  Did you always know that you wanted to be a musician?
JS:  No, growing up I thought I would be a pro baseball player.  I played through college.  I minored in music in school and ultimately decided that the musician lifestyle was more suitable for me.  I was more comfortable with the difficulties of the music industry than the variable of an injury ruining my baseball career.  I just like to rock out, which is a lot harder as a pitcher.

 33:  Why is it difficult to arrange a song that has both good lyrics and rhythms?
JS:  As a writer, it is challenging at times to match the emotions of the lyrics with the emotions of the music.  However, sometimes the contrast of sad or depressing lyrics to music that sounds happy can be interesting.

33:  When are you playing next, what time, and where?
JS:  I perform at the Box in the downtown mall every Sunday at 10 PM; I am also playing a show at the Crozet Mudhouse on June 26th at 7 PM.  Check our MySpace for future shows.

33:  What is you favorite music video, clip or movie about a particular artist/artists?
JS:  I just watched a documentary reviewing the OK Computer record by Radiohead.  It was a window into their genius.

33:  What is the most memorable human experience you had that incorporated a memorable music experience as well?
JS:  At age 5, I was watching a parade with my mom.  When the drum line went past me it shook my entire body.  Something went off inside of me, and I knew I wanted to play drums and be a part of music.  I wanted to be on the giving end of the emotional exchange.

By Editor-In-Chief and Correspondent: Andrew Lutwin   Thu, Jul 01, 2010

Richmond - Jason John Buckland, aka Scorpio Static, is a one-man techno band currently hailing from Richmond.  However, his cultural roots extend far beyond our fair city.  Jason was born in Hong Kong and is a dual citizen of the United States and Great Britain, not to mention being a world traveler who never ceases to explore new realms of music.  His more obvious DJ influences include Paul Oakenfold, BT, Ferry Corten, and Moby, but he also makes reference to David Gilmour, Angus Young, and even Kurt Cobain.  

Having grown up in Florida’s rave scene in the 90s, Jason’s main passion is techno.  “In techno, there are usually no vocals to tell a story, so you tell the story instrumentally,” says Jason.  “I want to take people on a trip.”  Using progressive house trance as a launch pad, he then incorporates elements of rock, blues, reggae, dub, and funk into an all-encompassing vision of music that, most importantly of all, makes people move.  “I think the techno scene is biting at the heels of Richmond,” states Jason.  “I want to elevate the scene.  It needs to be woken up.” 

When I catch his set in the downstairs lounge of Europa, the place is awake indeed, especially for a Wednesday night.  His show typically begins with a slowly building set of trance that gets everyone in the appropriate dance mode.  Once properly seduced, he straps on a guitar and gets heavy.  Scorpio Static uses no pre-programmed material – everything is performed live manually.  While looping his keyboard tracks, he pounds power chords literally in the faces of the audience, and while this may seem slightly unconventional to a techno-based crowd, the audience is very much into it.  He even throws in a cover of Prince’s “Kiss” that sounds very little like the original but has the crowd bumping nonetheless.

Scorpio Static’s debut album Tranceformation is due out in late August, and he will be supporting the album this summer with shows in New York and Washington, D.C. in June, as well as some Montreal appearances in late July.  He is currently circulating copies of his single “Never Again,” an instrumental techno song that evolved into a reggae/hip-hop jam with vocals by Cuban B.  Be sure to mark down July 7, when you can throw down with Scorpio Static during his next appearance at Europa. 

scorpiostatic@aol.com

By Correspondent: Monet Freeman   Thu, Jul 01, 2010

Hampton Roads - I ran across Mz. Meka at a talent showcase in Virginia Beach a couple of months back that was held at Shakas on the Atlantic Avenue Strip.  She stuck out like a sore thumb.  I must say she has an extremely feminine aura with locks neatly pulled up.  It wasn’t until she set the microphone aflame that you really could tell she was worlds more than another spectator of hip-hop.  Her story is simple, but her passion is immense.  There are very few people that share a genuine love for hip-hop to the point where every word that they say sounds like music.  Lameka “Mz. Meka” Owens is definitely one of the few.

33: So how long have you been rapping?
Mz. Meka: I started rapping when I was in 8th grade, about 14 years old.

33: How did that happen?
MM: I've always had a love for music.  I was talking about it with my friend Gia Jai in school, and we decided to rap together.  We used to write raps and pass them to each other in class, and that’s kind of how I got started. 

33: What do you feel you are called to do in the rap industry?
MM: As far as the rap industry, I think it’s time for something fresh with more women because it's dominated by men.  It's a lot of great female artist that I feel should be on… so it's time to make some noise!

33: Whats your first memory of hip-hop?
MM: I could say probably when I was about three, listening to Afrika Bambaataa and Slick Rick with my dad...he has a system in every car so I grew up listening to loud music all the time!

33: Afrika Bambaataa is awesome - did you have any other musical influences growing up?
MM: MC Lyte, Queen Latifah, Salt-N-Pepa... all the old school hip-hop.  As I got a little older Nas, Jay-Z, Biggie, Pac.  Of course, the females like Lil’ Kim, Foxy Brown, Eve & Rah Digga.  I love all types of music.

33: Do you have any impending mix-tapes coming?
MM: Yes, a group mixtape with my brothers in hip-hop Voe Black & Yung Hali - Never Stop Grinding - and I'm working on an album as well.  I have only done one official solo mixtape entitled Class Is in Session, but I've been on countless features and other mixtapes.

33: What was the storyline behind that mix tape?
MM: I have been doing music for a long time, recording since I was 15, but I never really had the opportunity to put together a mixtape due to my busy life.  I had songs that needed to be heard, and even though it's hard out here for us females, I did it all on my own.  I did it just so people can get a view of who Mz. Meka is!

By Editor (Managing) and Correspondent: Robin Marschak   Thu, Jul 01, 2010

Richmond - I had a pretty good notion of what to expect going into this concert.  With the Riot Before, Big D and the Kids Table, and Flogging Molly playing it was sure to be lively.  I had actually never seen any of these bands before in concert, but I was familiar with the music of all three.  There was a time when Flogging Molly would have been my first response when asked who my favorite band was.  That was back closer to the release of Swagger.  It had actually been some time since I had even thought about them before hearing about this concert.  Big D and the Kids Table is one of my best friend’s favorite bands.  I never really got all that into their music, but I remember him wearing one of their tee-shirts around all the time.  Of the three bands I was least familiar with the local Richmond band the Riot Before.  I had been meaning to go see them since reading Andrew Lutwin's article back in April, and had listened to some of their material that I could find online. 

The Riot Before was the opening band, and after seeing them live I found Andrew's article to be even more accurate than I feel anything I could have written would be, so I will just recommend that you go check that article out here if you have not already read it.  What really stood out to me was the emphasis on melody that is so unusual in harder punk music.  And there is no denying the sincerity and lack of pretense that Andrew mentioned.

Of course, the Riot Before was only the first of three performances of the night.  They were followed, after a brief break, by Big D and the Kids Table.  If you haven't heard of them, think late third-wave ska with light punk influences.  Like I said, I never really got into their recorded material, but I have to say these guys put on a phenomenal show.  Far from the hardcore punk feel of the Riot Before, Big D and the Kids Table instantly had the crowd in a celebratory mood.  I noticed a marked increase in activity on the dance floor during their performance.  The floor was pretty packed for all three bands, but there was something about this band that elicited much more movement from the dancers.  But that's the way good ska is.

Now on to the main attraction: Flogging Molly.  What is there to say but "Wow!"  I knew I liked their music, even if I hadn't really listened in a while, but I was not prepared for how good they are live.  If Big D and the Kids Table had the most fevered dancing among the crowd, Flogging Molly definitely had the most shouted singing along from the crowd.  The dancing was quite impressive as well.  It was pretty obvious that most of the crowd had been drinking pretty heavily by this point.  And there didn't appear to be much chance of this trend abating.  Flogging Molly has that indescribable element to their live performances that forces you to throw yourself wholeheartedly into the music.  Quite frequently I found myself singing along with songs to which I did not even realize I knew the lyrics.  And I doubt I would be able to recall them now.  There was just something in the atmosphere of the room that put the words on my tongue right as I needed them.  One of these songs that really stuck in my head was "Rebels of the Sacred Heart."  I was familiar with it from Drunken Lullabies, but if you had asked me before the show I would not even have been able to recall the melody let alone any of the lyrics.  That being said, during the show I was shouting along with every single word.  What more can I say?  Such is the power of Flogging Molly live in concert.

All in all this was an amazing show, partly because of how much better it was than I was expecting.  Don't get me wrong - I knew it would be a decent show.  No band can survive for as long as both Flogging Molly and Big D and the Kids Table have without being able to put on a good show.  What I wasn't expecting was for them to be performing at top notch.  And both of these veteran bands were.  Throw in a great performance by local punk veterans the Riot Before, and you have the makings of a real crowd pleaser.  I will definitely plan on seeing either of these bands the next time they come through town, and I would recommend checking out the Riot Before the first chance you get.

By   Thu, Jul 01, 2010

Richmond - The evening began as a melodic punk/hardcore kind of night, with Living With Lions and Lemuria giving a full house at the Camel exactly what they wanted: energetic, hooky rock 'n’ roll.  The show headliners, Polar Bear Club, were also of this vein, so imagine my surprise when Moving Mountains showed up and started playing their brand of New York post-whatever.

The band, which consists of Greg Dunn (vocals/guitar), Frank Graniero (guitar), Mitch Lee (bass), and Nick Pizzolato (drums), started their set on this night with a series of ambient soundscapes.  From there, the band launched into a genre-hopping set, swapping ambience for passages of heavy sludge mixed with upbeat indie grooves.  In talking with the band, they claim influence from bands such as Explosions in the Sky, which while not a huge stretch, doesn’t give Moving Mountains enough credit for their own diverse approach.

Also displayed throughout the set was the band’s electric onstage dynamic, which combined a kind of intensity with youthful exuberance.  It seems that some bands hitting the road to play post-fillintheblank gain a jaded sense of music, a holier than thou take on the art of playing loudly to sweaty, angsty young people. Fortunately, not these guys, as it’s clear they are still one of those same sweaty kids, just a little better versed in the intricacies of forward-thinking music.

Speaking of forward thinking music, their latest album Foreword came out in 2008 with Caetera Recordings, with a vinyl version released in 2009.  According to the band, Moving Mountains will soon be back in the studio to record a new full-length, which may or may not be self-released.

Moving Mountains on MySpace

By Director, Founding Partner and CEO: Chris Mullican   Thu, Jul 01, 2010

As I was unloading the van and setting up the Magazine33 tent, the heat welcomed me with a punch to the forehead!  As I bled sweat and raced against the clock, the only thing I could think of was, man it’s hot!!

There were a few musicians on stage setting up and running through a sound check, but I paid no mind, as I was making trip after trip, unloading, sweating and anticipating the Veggie Fest’s infamous fresh squeezed iced cold lemonade.  To my surprise, the timing was perfect, as I finished setting everything up, grabbed my tasty beverage and sat down to absorb an afternoon of great food and music, the first band took the stage to perform.  Despite everything else going on around me, it didn’t take long for Haze and the Transients to capture my full attention.  With a unique blend of folk, pop and Americana, the band has successfully established a sound of their own.  Led by the melodic and soulful vocals of Kirsten “Haze” Hazler, this bands works together on a level of love and respect for one another as well as their music.  With Jolie Harrison also on vocals and completing a harmonious balance, the band is made up of a stand up bass, guitar and an interesting drummer who plays with only a bass drum and a snare creating a skiffle backbeat that could not work any better.  The band brought an hour of diverse story telling, groove punch jam that left me asking when their next show was. I was impressed with the musicianship and loved every song performed.  After their set, they came over to the tent and introduced themselves, only to reassure me that who they really are is a reflection of the music they play.  Haze and the Transients are a great live band and I am looking forward to catching them again on August 6th at Legend Brewing Company.  Visit them online at:
HazeShadeProductions.com
MySpace.com/HazeandtheTransients

As the next band was setting up, I wasn’t sure what to expect.  They were introduced as a reggae band called Unity Sound and though I do love reggae music, I am always a little skeptical of the outcome.  Reggae is one of the most universal sounds that everyone feels and behind it is the combination of song and dance bringing peace and love.  It really takes the right type of collective energy to channel this.  I love it and had high expectations of Unity.  As I watched this short bald headed guy with a gotee grab the mic, my first thought was, "this can’t be the singer."  I mean, when most people think of reggae, they think of Bob Marley, dreads and big hats.  Stereotypical, not to mention judgmental, I was put in my place to say the least!  Unity Sound brought the vibe!  Their sound check was a brilliantly done cover of Lynyrd Skynard’s Simple Man and the lead singer was incredible.  As they continued their set, I was more impressed with each song.  It didn’t take long for people in the crowd to start dancing and there was a beautiful exchange of energy between everyone and the band.  I really enjoyed this band and even though I didn’t get a chance to meet them after their performance, I witnessed them going around hugging and talking to people.  These guys are genuine with their love for reggae music and I would definitely go see them again.  You can see them live July 9th at Red, White and Brew 17th Street Farmers Market and their new CD Do Something is available at the website:
UnitySoundReggaeBand.com  - also visit them online at
MySpace.com/UnitySoundReggae 

By now, I had had my third cup of lemonade and my ears were feeling pretty good. The next band up was called Cha-Cha’s Cadillac and by the title I had no idea what to expect.  As they took the stage, I saw this short guy in blue jeans and a plain white t-shirt, hair like a 50’s greaser holding this huge electric guitar and was thinking to myself, this is interesting.  Beside him was a tall blonde haired lady in a red and white polka dotted dress, sunglasses and a tambourine.  Accompanied by a drummer and a bass player they went right into their first song and BANG!!!  I was taken back to 1959 in style.  They started their set with a great cover of Johnny Cash’s Folsom Prison Blues.  With a marvelous blend of rockabilly, country, attitude and fun, Cha-Cha’s Cadillac does a great job of preserving the origins of classic Rock-n-Roll in an explosive manner.  Jennifer Putze (The lady in the polka dot dress) kept the crowd on their feet dancing and bopping around, while Sean Contreras, the lead singer/guitar player, amazed me with his showmanship and playing.  Backed up by a solid driving rhythm section, Pat Spillane on bass and Randy Jett on drums, this band was full of energy, life and musicianship.  Just when I thought I had figured them out, they broke into Eddie Cochran’s "C’mon Baby" and I was sold!  It’s not everyday you hear this classic hit, let alone hear it done with such excitement.  Overall, Cha-Cha’s Cadillac are one of the most original, unique and fun bands I have seen.  They’re next live show is July 10th at Big Al’s and July 17th at Bogarts.  You can visit them online at:
MySpace.com/ChaChasCadillac
[Editor's note:  Cha-Cha's cadillac was actually one of the first bands covered by Magazine33 back in our very first issue.]

The next band to take the stage were a group of young musicians who seemed to get right to it.  From the very first song, there was an obvious strong chemistry amongst them.  Julia Stancampiano's vocals are pure and honest with a respectable range.  With confidence and passion for music, she seemed to communicate well with the audience both musically and personally.  The band were equally impressive with their humble style and everyone’s ability to create together.  The songs themselves were well composed, combined with a sense of spiritual overtone and heart-felt lessons of life.  Any band that can go from an acoustic style county ballad to an 8 minute driving funk jam while still maintaining an original identity, well that’s a band I’d go see anytime.  Riverside Drive sounded like a band that have been playing and touring together for years and I believe this band will continue to grow a fan base to large numbers in years to come. You can visit them online at:
MySpace.com/RiversideDriverVa

Last to take the stage was The Michael Hurley Band.  These guys were bringing a show and backing it with a stage of well seasoned players.  Michael Hurley delivers a punch of strong and emotional vocals while rocking both guitar and keyboards.  Opening with a song I refer to as a “shredfest overture” the guitar player lit the stage on fire with his solo and song after song this band never let up. Even the beautiful ballad, where Hurley plays piano and sings to a mysterious friend, both guitar players take turns in a conversation that only exists in bending notes and screaming riffs.  I couldn’t help to feel like these guys were driving towards the big time.  The songs were great.  The stage show was great.  The band was great.  Due to the heat outside and the time of day, the festival crowd had slightly diminished, however it didn’t seem to matter to this band.  They played their hearts out as if they were in front of 20,000 people.  I recommend you go see The Michael Hurley Band if you get the chance.  I imagine in a bar setting, this band would pack the dance floor.  You can visit hem online at:
MichaelHurleyBand.com

Overall, I’d have to say that this year’s music lineup  was a perfect blend of great bands. I enjoyed all of them and the Veggie Festival itself is always a learning experience packed with great food and fun. See ya next year……………

By   Thu, Jul 01, 2010

King George - Hello to all the Magazine33 Gospel Chain Readers!  It gives me great pleasure to introduce a brand new group from King George, Virginia.  None of the members are strangers to singing and playing music, but they recently came together and formed a new female quartet.  I present to you, Vision.  Their theme comes from Habakkuk Chapter two, Verse two, which states, “Write the vision and make it plain…”  I conducted an interview with their manager, Deborah, and I would like to share it with you.

33: How long have you been together as Vision?
Deborah: We’ve only been together for three months.

33: What made you decide to put this particular group together?
D: We wanted to do something different.  The musicians came to us with an interest in playing for a female quartet and we decided to give it a shot.

33: What is your inspiration?
D: We want to position ourselves to be able to allow God to use us, through ministry, to reach those who are lost.  It’s not about being bigger or better than anyone else, but it’s about saving souls.

33: Any goals for 2010?
D: We want to continue to grow to higher levels and have fun as we go forth.

33: What is one thing you would like Magazine33 readers to know about you?
D: We are a very humbled group that is out here to do God’s work and to be a blessing to people through a variety of styles of Gospel music.

33: Any encouraging words for newcomers to the Gospel music local circuit?
D: Pray about your decisions, and have a love for God and what He has for you to do.

Thank you for spending a little time reading about another upcoming local group that I am looking forward to hearing.  Vision would like to invite you to some of their programs.

Vision Presents: True Worship Gospel Celebration at Little Zion Baptist Church in Oak Grove, Virginia.  The program will be held on Saturday, July 24, 2010, at 4 PM.  Special Groups include: Voices of Harmony (Colonial Beach), the Mighty Spiritual Lights (Alexandria), MRJ & God's Anointing Vessels (King George), Soldiers of Vision (Richmond), and the Gospel Tones (Williamsburg).

For more information, contact Deborah Silver at 540-226-0866

By   Thu, Jul 01, 2010

Locust Grove - What an awesome event!  I had the privilege of being a part of such a wonderful experience.  The anniversary was a well-arranged, nicely balanced program.  It was good to see so many friends and family members come out to support Acclaim on their first anniversary celebration.

The emcee, Pastor Sanford Reaves, got the program off to a fiery start and kept it rolling along smoothly.  The Praise Dancers from Mount Zion Baptist in Locust Grove, Virginia, performed to “Stomp” by Kirk Franklin and God’s Property.  What an amazing job they did.  There were at least fifteen dancers ranging from seven to sixteen years old with some great moves.  One thing I really enjoyed about them is that they seemed to be having fun while they were ministering to us.  Keep up the good work.

I was also impressed with the other two groups that performed.  The Shady Grove Men’s Chorus from Orange, Virginia, did an awesome job.  My dear friend Pastor Joseph Moore played the keyboard for them and I must say I really enjoyed them.  One of my all-time favorites Faithful Connection came along and pumped things up even more.  That is the group I play for, and they continue to inspire me each time we perform.  If you see any of these names on flyers in your areas, I encourage you to go out and support them, and I’m sure you will be blessed.

And now to the honorees - Acclaim!  The performance, outfits, and song selection were properly chosen.  The audience was really into it, and the overall performance was great.  The musicians kept the music in the pocket, and the ladies just did their thing.  I’m glad I was presented with the opportunity to be a part of Acclaim’s first anniversary celebration, and I want to say to them, "Job well done!"  To those who missed it, make sure you don’t miss the next one!

By   Thu, Jul 01, 2010

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CafePress.com/BluesTshirts

Visit Buddy and Hopkins on MySpace:
MySpace.com/BuddyandHopkins

Visit the Buddy and Hopkins website:
BuddyandHopkins.com