Photo by Michael Ponzini. In photo: from bottom left to right: Tucker Rogers, Travis Elliott, Eli Cook, and Ryan Underhill. All Charlottesville-based musicians bursting with talent and passion. We were lucky enough to feel their music at the recent Charlottesville Magazine33 Launch Party! Thanks guys!
Magazine33 May 2010 Cover!!!
Photo by Michael Ponzini.
In photo: from bottom left to right: Tucker Rogers, Travis Elliott, Eli Cook, and Ryan Underhill. All Charlottesville-based musicians. Read about them in the article: The Magazine33 Charlottesville Launch Party!
Cover design by Heather Dance.
Virginia Beach - Soul Haven is Virginia’s premier local studio. They’ve seen the best local bands grace their halls, as well as big name industries such as Atlantic Records. Tim Roberts is the go-to man if you need a quality record, and his extensive resume includes people such as Justin Timberlake, N.E.R.D., Earth, Wind & Fire, 50 Cent, Santana, and much more. In addition to his professionalism, you will find someone who truly cares about your music as well. Soul Haven was actually built entirely by musicians, proof of a strong bond formed by a caring individual. Who else could get a group of busy locals to create a perfect, acoustically sound building?
Since you, dear reader, couldn’t be there with me, let me give you the tour. As soon as you walk in there’s a large, open room with a stage that is just barely off the ground to the far right. This is where they hold their various shows and parties after an album has been finished. They let artists invite their friends and family for a private show that isn’t limited by how old you are or a price tag for a piece of paper; it’s just a celebration of exciting new territory and a job well done. If you walk through a door and make a right, you’ll soon find yourself in a room with a wide display of album covers on a wall, along with various guitars and a drum set in the corner. Strips of material are strewn across the walls to keep the rooms acoustically sound. Just a few steps from there and you’re in Tim’s main squeeze, the place where the magic happens. There’s a big table with a dual screened computer showing streams of different musical frequencies, a speaker system, an impressive digital recording console, and other goodies whose functions my inexperienced self can’t even begin to comprehend. You can’t forget the very comfortable couches and chairs strategically placed in this space, either - it’s not hard to imagine that a lot of people have come through here and sat down for a spell. Go in to what seems to be a closet from there and you will be greeted with a microphone, isolated from the rest of the sounds to give that perfect clarity. Even further in, there is the amp isolation room, which can be useful for anyone else wanting a specific sound.
Once you’ve explored that end of things, you can exit and go down a long hall towards the second studio built specifically for Phil Seaford, a vital partner to Soul Haven. Before we get there, you’d notice an electronic garage door; many backyard cook outs were had here, or even a friendly game of basketball to wind down from the stress of recording. Passing that, we head into the second studio of Soul Haven. This master control room is a bit smaller than Tim’s, but no less impressive. Phil has his own set of gear, his computer being surrounded by his own consoles and speakers with a TV behind them on the wall. There’s a large live hall for those big groups, complete with an impressive sunburst drum kit, acoustic guitars, and various other instruments. He also has his own vocal isolation room, making his studio as complete as one could hope for.
33: Tell us a little bit about Soul Haven's history.
Tim Roberts: Soul haven was founded by Tim Roberts and Michael Pellino and formed by the common love of music. We met each other at a Big Mighty show at the Half Shell. I remember vividly the first time we met, there was this amazing band that I had never seen before. I was working at Windmark at the time and was scouting bands to do records for. We did a demo at Windmark called First Wind. Soon after, the studio was bought out, and I was out of a place to record music. Mickey wanted to ask me some advice for a rehearsal place, so he brought me to this empty warehouse, and next thing I know we are spending six months designing a recording studio. Not just any recording studio - a private home base for writers, performers, and bands to come explore the art of making records. The spirit was so strong with the building process that every one of our close friends pitched in and helped us build this place from the ground up. We can’t wait to expand our resources and grow as a team. We recently added a vital partner to our operation, Phil Seaford, my very close friend who worked with me at Windmark. He went to Full Sail to teach, and we built another room, and he got on a plane from Orlando and is now doing some awesome work. He’s a great asset to our company. We are very lucky. We also have just opened our entertainment and banquet hall where we do our company parties, entertainment, rehearsal, rentals, special banquet events, and more importantly a place for young musicians to come play their music. We like to do underage shows and live recordings in there. Hopefully, in the future we will have a full media team for all avenues of the music and video business.
33: What is the process you go through when a band comes to you looking to make an album?
TR: First, I ask them what is the purpose of this; are you trying to make money, tell a story, support your family, or go on tour? I mean, there are so many reasons that music inspires someone, and it’s my job to capture that feeling, so I first have to understand what this music is about. Then I like to go check their band out live. We are not just an hourly studio that takes your money and stares at the clock; we want to get to know our clients and represent them the best we can. One of my biggest goals is not to change their music but to enhance it by helping the artist give their full potential and be creative in the process. I love to watch people hear their music and say, “Wow, I can’t believe this is mine.” Artist development is extremely important in making records. We offer some really cool packages that are producing, recording, mixing, and studio time in one price instead of just hourly rates. We do truly get our heads into our productions. It’s very important that players are prepared when they enter the studio. I can’t tell you how many times an arrangement changes or someone’s guitar is out of whack. So the first thing is to make sure the client is prepared. I like to have them rehearse at our rehearsal space. I’ll sit in and make sure their arrangements make sense to popular demand, then make them go tune their instruments up by some professionals. Next, I like to start with the whole band. I normally just keep the bed tracks, then move to bass guitars and the rest of the instrumentations. Perfection is key. You have to be in tune and on time, if you can’t do that then you’re not ready to be in the studio. In that instance we have studio musicians always on hand to perform your work - which I LOOOOVE, that’s my favorite - because it’s fresh ears and professional musicians. You’re not wasting time on performance; instead you're CREATING. That’s the fun stuff. Then, it’s all about promotions.
33: What are some up-and-coming artists we should be on the lookout for?
TR: Oh man, you have to check this out. We are actually in the studio tonight. This album is the root and heart of the projects that we love and get behind. A real story with great intentions. Vedette should be writing soon - I can’t wait for that. It’s a totally awesome neo-soul style, which is rare for Virginia Beach. Heather Jeanette and I have been super busy for the last couple years hiding our arsenal of amazing hit songs. I’m sure they will be on your iPod next year; this project is for the mainstream media, and we hope you like it. Shhhhh, don’t tell anyone [laughs]. Yeah, right. No, tell everyone. I have almost ten songs done for the next Jackmove record [laughs]. But there are some changes in the band so we might release an EP first. I’m pretty sure DHH is about to release. Phil did an awesome album for Tommy Stanley. That’s what’s good right now. I can’t give up all the secrets just yet, but that’s a good start. And if you haven’t heard the Christmas album I did with all local musicians, I highly recommend you pick it up. You can hit us on Facebook, and we’ll hook you up.
33: What made you first get interested in providing this service for the area?
TR: I’ve been working in studios for almost 14 years, and it’s always been about money, money, money first. I HATE that. Mickey and I just love music, and we love to see how it makes people come together. I mean, have you ever been to a Superock show? Talk about a vibe. Or how about the Influence? Those guys kick it hard. They are so talented and put a lot of love in their music. I had the pleasure of producing for them. Just look at their fans, and it will answer this question for you.
33: Who are some of the artists that have come through Soul Haven?
TR: Jill Scott, Ashlee Simpson, Fall Out Boy, Still Pink, the Influence, the Big Mighty, Murphy’s Kids, Jackmove, David Hasselhoffs Haircut, Grant, Austin Taylor, Chasing Arrows, Josh Shilling, Carbon Leaf, Heather Jeanette, Right On, the Atlantic, Govner, Ozomatli, Robert Randolph, Rainmarket, Eazy D, Bobby Snard, Kaustic, Life's Only Lesson, Ryan Conroy, the Famly Trucksters, Superock, Truck, Coalecent, Augustine, Duburbia, Alex Winfield.
33: What recording sessions stand out in your memory?
TR: [laughs] Great question! Every single one. I mean, they are all interesting, some frustrating, some amazing, some entertaining, some straight business, some just relaxing. I’ll give you a couple. Robert Randolph - 24-hour session; so honored to watch that amazing man rock. Oh my heaven, he is so awesome. Superock - what else is there to say? The Influence - that was a lot of fun; great guys, great fans, lots of positive vibes. Too bad the air conditioning wasn’t working, and it was like 100 degrees in the studio for a month. Caused a little frustration, but the music shined. The camaraderie in that band is wicked. Bands, take notes - these guys have it. Ozomatli - four square and straight awesomeness. They are the coolest band. Eazy D - nothing but love; always a good time, and we have some badass rituals. The Big Mighty - it doesn’t get better, especially when Josh Shilling laid his glue on it. Man, this band had something that rests in every persons soul. Add some beer, barbeque, and hilarious friends, and it just doesn’t get better. Bobby Snard and Teaford - that’s the shit. Alex Windfield - just a good time. Keep your heads up everyone. This is a true album.
Without a shadow of a doubt, Soul Haven is the most prolific studio in Virginia. Whether you just want to lay down a few tracks or expand your musical horizons, their dedicated staff will help you along that path. A passionate thing such as music doesn’t deserve to be treated with cold methodism. If you feel like other studios are wishing for you to waste time so they can get paid, be sure to book your next session at Soul Haven, where every minute matters.
Soul Haven Project on MySpace
Virginia Beach - The number of people trying to become official, full-time, signed musicians is a figure that seems to always be climbing. Aside from talent, the qualities that seem to separate the cream of the crop are experience and a tenacity for hard work, something Sound Squad Entertainment has in spades.
The foundation of Sound Squad Entertainment began in 1993 in New York with President Big Dee and his little brother DJ Butter B. It started small, but this is when they started getting paid to perform, with Butter B DJing at parties. Seventeen years and several mixtapes later, Butter B is still going strong, having just finished a best of Biggie Smalls mixtape.
Though it's been years, the Sound Squad has since moved into a new studio in Virginia Beach and have added more pieces to the puzzle. An example is producer Tone Kaphone. Tone has spent time as both a performer in groups and as a rapper. "I rapped for about seven years," Tone explained, "but I prefer the creative challenge of producing." Big Dee continued, "We used to have
to hop from producer to producer, but having an in-house producer makes things a whole lot easier and will make it easier for us to explore different genres of music."
Another addition has been rapper Brandeesh. Originally from Chesapeake, Brandeesh has been writing raps since he was 13. It was in 2002 that he decided to start taking his love of music more seriously. Just recently he released his latest CD Based On a True Story in late 2009. "From concept to beats to recording it took about a year," explained Brandeesh. Even though that album was released only months ago, Brandeesh is already working on a new project. "This summer I'll be heading to New Orleans to work with a live band to record an unplugged version of some of my songs," Brandeesh stated. He'll also record some new tracks along with the old ones and release them as an EP. Even more recently, Brandeesh performed at the Jay-Z afterparty this past March. "It was kind of a last minute gig," Brandeesh explained. "The person in charge had remembered seeing me perform at a Memphis Bleek concert in North Carolina, remembered that I lived in Virginia, and gave me a call."
All these steps are moving Brandeesh toward his two goals: to have his name signed on a contract, and to help make Sound Squad Entertainment a legitimate, self-sufficient company. Whether it's in Virginia, North Carolina, or Louisiana, Sound Squad Entertainment doesn't mind doing what it has to do to get the job done, regardless of where they are. If it's walking around on the street passing out mixtapes, designing CD covers, shooting YouTube videos, performing at shows on the road, or recording an album, Sound Squad Entertainment is always busy and always moving closer to legitimizing themselves and their company.
Sound Squad Entertainment on MySpace
Charlottesville - Caroline started playing piano when she was nine years old and picked up her first acoustic guitar two years ago while living in Maui. It was an old, beat-up 1963 Goya that she found at a thrift store for $99; she knew she had to have it. Since then she's acquired other, better sounding guitars, but the Goya (which she named Maverick), is still pretty special. She loves all types of music but tends to stick to playing acoustic or alternative-folksy sounding stuff. She writes her own lyrics and music, which she records from home using GarageBand, a 4-channel mix box, two types of mics, and a digital piano. Her music can be found on iCompositions.com under the username "carolineguenther."
Caroline is currently enrolled in Blue Ridge Community College as a psychology major and plans on transferring into James Madison University. In her spare time she's on the hunt for places to perform her music and can often be found collaborating with fellow musician Marcelle Boone (who can also be found on iCompositions under the username "MarcelleBoone"). They've written a number of songs together and plan on continuing their duo project, with hopes of releasing a few unsigned albums in the future.
33: When did you first start singing?
Caroline Guenther: I've loved singing for as long as I can remember, but it took me a while to start singing in front of people. I wasn't about to do that until about two years ago.
33: What did your family do to encourage you?
CG: Whenever I posted my songs they always left really positive comments and talk about me. My dad tells his friends about my music. They just kinda help me keep a good outlook on things.
33: Does anyone else in your family sing?
CG: No, they don't.
33: Who are your musical inspirations?
CG: Firstly and definitely the Beatles. I loved their music when I was like 3 or 4. Also Ray LaMontagne. The Weepies. James Taylor.
33: What kind of music do you listen to today?
CG: I listen to everything. I got mixed CDs in my car.
33: How did you get into folk?
CG: When I first got my guitar and looking up similar artists with the same style.
33: What embarrassing songs might I find on your MP3 player?
CG: 'N Sync and Bubba Sparxxx.
33: Where would you most like to perform?
CG: Hmmm...I've always wanted to sing in a jazz club.
33: Who would you most like to open for?
CG: Hmmm...probably the Weepies.
33: If you weren't singing, what would you be doing?
CG: I don't know. It's such a big part of who I am, I can't imagine doing anything else.
33: Do you play any instruments?
CG: Guitar and piano.
33: If you could dabble in another genre of music, what would it be?
CG: Probably funk or electronica.
33: What genre of music can't you stand to listen to?
CG: Either really violent rap or really honky tonk country.
33: What hidden talents do you have?
CG: I don't think I really have any hidden talents.
33: Do you enjoy writing music and/or lyrics?
CG: That's all I do. I don't even know any covers.
33: What can we see from you in the future?
CG: I hope to be performing in more places.
33: Anything you would like to say to your fans?
CG: Thanks for all my comments on my iCompositions space. They always make my day.
Fredericksburg - On Saturday, April 17, Fredericksburg All Ages’ biggest show ever went down. An epic showdown between local and traveling bands unfolded to a packed house of 160+ attendees at Eyeclopes Studios in downtown Fredericksburg. Slighty detached from the center of downtown’s nightclub activity, this at first humble-looking, white-painted establishment tucked away amidst residential houses, reveals upon driving up a perfect arena for musical, nocturnal sermons, a haven for indie rock concerts. Four bands were scheduled to rock out and galvanize the audience with their similar brands of indie pop-rock melodies: Tereu Tereu, the Vermilions, Drink Up Buttercup, and Jukebox the Ghost.
Upon walking in, the glow of the blues and the reds from the spotlights drown the club in a stylized cybernoir vibe - some futuristic Blade Runner shit - cut off from the far less designed quotidian of the outside world. My eyes are immediately caught by the tiki bar, a pagan shrine adorned with arcane totems and figurines from throughout pop culture: multiple incarnations of Futurama’s uber-femme, one-eyed Lila; Hellraiser’s cenobites, garbed in S&M leather and chains; a whole bunch of buddhas and countless Jesus Christs. Ragnarokian Krakens of various mythologies. The shrine’s pungent ominosity is overshadowed only by its sheer coolness.
I look around. The place is packed with music fans of all ages. I ask around to see which band everyone is most excited about. Almost without fail, the band with the most fans here is Jukebox the Ghost. Some devotees drove for hours just to see this show. Nervous youngsters with Jukebox the Ghost shirts eagerly hang out, dreaming to catch a glimpse of their favorite band’s members. One of the fans, when asked what Jukebox sounds like, tells me, “If Ben Folds and ZZ Top had a baby, their hybrid offspring would be Jukebox the Ghost.” This sounded kind of interesting, being a minor ZZ Top fan. I was curious to finally hear them.
Suddenly the night of rock began, with an awesome warm-up by Ryan Little of the soon to be rebuilt Tereu Tereu, who riffed-out some passionate ballads with a heavy edge. I came in expecting a strictly acoustic show from him, but boy was I wrong. Normally acoustic folk songs were now electrified and re-energized, adding a tremendous edge to his chord progressions. His well-honed guitar skills translate the whisperings of his soul into mournful yet powerful rock. The dark edge of his lyrics is counterbalanced with the upbeat, rocking pace of his music.
Although Ryan can handle the stage by himself without breaking a sweat, his whole performance does take a turn for the better when his drummer Brandon steps in and finishes the playlist with him. The guitars had a heavy, driving beat to play along to now, and the sound was definitely improved. The added layers of a bassline and even some piano (Ryan alternated between guitars and keyboards throughout the show, but obviously couldn’t play both simultaneously) could definitely enrich the currently stripped-down sound. The stage lights, alternating from red to blue to green, splashed on Ryan’s face and accentuated his emotional outbursts of song - melodic tenor vocals culminating in supercharged screams at climactic intervals.
After Ryan’s performance, the absolute treat of the night followed. Local Fredericksburg band the Vermilions, composed mostly of Mary Washington students and led by the unstoppable Jeremy Flax on vocals and electric guitar gave an astounding show. Right from the get go, Jeremy’s guitar prowess was clear, opening up with the fast-paced, catchy, single-note riff of "Letter by Wire." The exuberant, manic energy of his onstage persona was extremely refreshing and at the same time surprising. To see or talk to Jeremy offstage, you would immediately be struck by his shy, bookish, “oh, golly gee” personality. When he gets on stage, wearing bow-tie and glasses one might think, “Is this a lecture on quantum physics or a rock concert?” But fear not. At a Vermilions show, quarks, protons, and neutrons will be the furthest topic at hand.
The catchy choruses and iconic power chord riffs create great, timeless songs. There is a perfect balance of riffs and lead licks to a Vermilions song that satisfies those with an ear for electric guitar. As the band steadily plowed on with their songs - thunderous Dan banging away at the drums, adding a mighty rock beat; longhaired Sam on the keyboards and backup vocals; too-cool-for-school Evan on bass, laconically, lethargically thumping away, accentuating Jeremy’s outrageous energy - you really start to crave their next piece. Their songs are all alike in the sense that they’re all catchy, heavy, and fast. You can’t help but be amazed by the continuity of their musical identity. You can trust the Vermilions: if you like one of their songs you will more than likely enjoy almost all of their other ones.
Their final song, "Second Time Around," was bluesier and slower, ending with an excellent solo. The guy has subjugated the fretboard - goddamn he can make that baby sing! The guy looks like Harry Potter, and indeed plays guitar like a Valhallian wizard. After one of his most challenging and rock-out songs, the sweating Jeremy takes off his glasses and gears up for one of their heaviest, fastest songs. He pulls a Clark Kent/Superman alter ego number on us, now totally more psyched and energetic than ever. The Vermilion, red sunlight of Rao, the solar star that bathed Jeremy’s home planet of Krypton in his youth no longer present, supplanted by the yellows of our own Sol, which now empowers the rock prodigy. This band will go far.
The next act was Drink Up Buttercup, an avant-garde and manically wild indie band from Philly. The lead singer, Jim, was also the lead guitarist, riffing away lead melodies and chords, a very bare-bones tone, more akin to Ryan Little’s than Jeremy Flax’s uberelectric shockwaves of sound. A very clean, clear, and frank tone. On the bass was Ben Money, front and center, with backup vocals, unruly hair flailing about as he wreaked havoc across the stage, maraca in one hand, blasphemously cool yellow bass in the other. Unstoppable, rebellious energy, like a tornado. Farad was on the keyboards, furthering also the backing vocals. Whimsical and irreverent sounds emanate from his piano, at time cacophonous, at others, symphonic. Spaghetti Western operetta. A grand duel of VHS and Nintendo electric sounds. Drink Up, Buttercup definitely deliver some galvanizing psychedelic rock that is amazing to see live. They have clever melodies and solid vocals, and really upped the ante the Vermilions had set in terms of stage presence. Truly physical, unforgettable visuals driving to intricate sounds.
Jukebox the Ghost was kind of like the night’s U2: poppy, crowd-pleasing, and huge. Just off a world tour with Adam Green, the Philadelphian trio delivered to their adulating fans their brand of indie piano rock. 
They really have their silly, yet uplifting style of music nailed solidly. Their onstage performance, apart from the music, was quite subdued, much more like Ryan Little’s than the Vermilions or Drink Up Buttercup. Ryan was actually more energetic by himself than all the members of Jukebox combined, save probably the drummer, Jesse, who was pretty badass the whole time. Didn’t see too much of ZZ Top going on here, but the guitar work was definitely impressive at times. The piano wasn’t too bad either. Honestly, though, their sound is very much a mass audience sound, and it’s no surprise they just played globally, let alone have such a receptive audience in a town like 
Fredericksburg, in which they barely play in. Jukebox the Ghost is truly an indie juggernaut.
Eyeclopes Studios delivered an amazing showcase of local and traveling bands on this particular Saturday. It was a blast to see so many young music fans so hungry to see bands play live, so eager to come out and experience an unmediated musical show. The bands expressed their innermost passions and thoughts in their chosen artistic medium, the sonic purity of music, and through the amps and speakers and microphones they reached the hearts and minds of their young listeners.
Tereu Tereu official website
The Vermilions on MySpace
Drink Up Buttercup on MySpace
Jukebox the Ghost on MySpace
Richmond - Shards of white noise envelop the room. Someone or something is sprawled out across a pile of drums and cymbals - its long, braided hair tangled in microphone cords, a guitar sandwiched somewhere in between. How did we get to this point? And what exactly is this creature that is copulating with a pile of unplayable instruments? It could only be...
The night did not start out this confusing, I assure you. I had instructions to meet up with the band (Nate Rappole - guitar/vocals, Frayser Micou - drums, Tim Morris - bass/vocals) around load-in for a brief interview before the show. Upon my arrival, Nate 
(also known as the enigmatic, masked Gull, a "band" consisting of guitar and drums played simultaneously by one man) told me we could get down to business as soon as he and his band mates got a quick bite to eat. And that was the last I saw of them - at least, until they took the stage about four hours later. I should have known better than to expect a smooth evening. After all, this is a band that has been known to incorporate nudity and stir-frying into their live performances.
The show was the second event in a series of five over the course of every Friday in April to celebrate Gallery 5's five-year anniversary, during which the esteemed local gallery engaged in a membership drive in true PBS fashion, minus the small army of pledge-collecting volunteer phone operators. 
Ultra Dolphins, the night's headliners, were celebrating as well - their latest CD release, that is, although the CD was not available that evening. Strange, indeed. Luckily, vinyl test pressings of Alien Baby with limited edition artwork were available for purchase, courtesy of Rorschach Records.
In an interview conducted with Nate several days after the show, he recalls the origins of Ultra Dolphins: "I met Tim and Fray in Harrisonburg in 2000, the year of our bored. We were all going to school at JMU and decided to get together and test each others' patience...which is exactly what I would call Ultra Dolphins - a testing of and testament to our collective patience. Just like our hands from playing, our minds have become more and more calloused as the years go by."
And the name? According to Nate, "One night we decided that we all had a deep appreciation for the great wet-salt expanse. We came to an understanding that dolphins are the people of the sea...that they are the aliens from which we descended. Then, Fray or Tim said 'Ultra Dolphins,' and it stuck like a harpoon in whale lard."
Okay, so far I follow, but care to comment on the nudity and stir-frying tendencies? Nate replies, "Ha! The naked stir-fry show at Crayola House in Harrisonburg! Our friend Jimmy decided to use two frying pans in place of record players. He had a pair of headphones on and was cooking up asparagus and hot dog beats...We decided that we would play the show wearing only underwear and hats. We were 22 years old. Nudity was inevitable. Nudity is inevitable."
Good God, in retrospect my night already seems far less confusing than it could have been. However, at the time, I couldn't help but wonder just where the hell these guys had been all night. Little did I know that Ultra Dolphins were about to test my patience as well. Luckily (or unfortunately), Gallery 5 added a keg of Magic Hat and some locally distilled whiskey to their bar lineup for the evening, and so I commenced the killing of time. Lots of time.
My Mind opened the evening with a set of minimalist, good-natured punk that reminded me a bit of the Vaselines (one of My Mind's singers is female) channeled through the jerky rhythms of the Minutemen. This odd comparison was heard clearest on their fitting cover of the Velvet Underground's "I'll Be Your Mirror," which was kicked up quite a few notches from the original. The Cinnamon Band, consisting solely of guitar and drums, followed with a rootsy, alt-country, almost Springsteen-ish take on the ever-popular minimalist duo concept. Throughout these sets I caught glimpses of the various Dolphins in the crowd, only to have them 
disappear moments later. At this point, I am ready to give up on the interview and devote my attention to the bar. And, of course, the headlining set from Ultra Dolphins.
As the trio came onstage, Nate took his place at a second drum kit (bass drum, snare, and hi-hat only) with guitar in hand. The set began with Nate attacking both drums and guitar with the ferocity of, well, an animal. At last, the evening's difficulties are explained! I was dealing with no ordinary man - this was the elusive Gull in his natural habitat. No wonder I was having such trouble tracking him (or it) down. Throughout the set, Nate had several Gull-like moments within the music of Ultra Dolphins, engaging in call-and-response drums with Frayser while maniacally tapping on the neck of his guitar and jumping back to wail into the microphone seconds later. And while this animal runs free onstage, 
Tim and Frayser do an admirable job of locking everything in place, especially with such rhythmically challenging music, as beats jump start from seemingly nowhere only to fall out or transition just as quickly. The show closes with - you guessed it - a Gull-like creature climbing over a dismembered drum kit, axe in hand, while screeches of noise test the patience of everyone in attendance.
Ultra Dolphins debuted a solid chunk of material from Alien Baby, which shows a definite evolution in the band's material. While a lot of the music from Mar, their previous record, evokes Drive Like Jehu and early Blood Brothers, Alien Baby seems to find its influence in an earlier era of punk and art-rock with bands such as Pere Ubu or Mission of Burma. The jerky, math rock is still very much present except with more of a focus on melody and composed dissonance instead of (barely) organized chaos and aggression. Nate (or Gull, I'm not sure where to draw the line anymore after witnessing the performance) describes the record as "our child." He continues, "Whereas Mar and other earlier efforts were things we created, they are not our children. All of our records definitely speak for where we were at the time in which they were made. But, somehow this record is different. Perhaps our other records were birthed in a different way, like Zeus birthing Athena from his head. Not this record. Alien Baby is from a womb."
Fortunately, I have a feeling that the offspring of Ultra Dolphins will not be nearly as difficult to find as its parents. Alien Baby is available through Exotic Fever Records in CD format, while the Richmond-based Rorschach Records is handling the vinyl. Just be sure to keep your eyes peeled for any animal and/or alien sightings - you can almost guarantee a good show will follow.
"Whether we continue on with this project, or others - we will always be ultra." - Nate Rappole
Charlottesville - On April 9, Magazine33 hosted the Charlottesville Launch Party to celebrate our introduction into the local music scene! It was held at the 12th Street Tap House and featured Book of Job, Travis Elliott, and Tucker Rogers. The performing acts present were spectacular, and it was special for every privileged fan present. They are the heroes in this story. Their talent astounded everyone in the crowd, and they made me proud to witness musicians of outstanding moral caliber and endless musical prowess. This review is specifically dedicated to those fine individuals, along with the 12th Street Tap House for being so gracious and accommodating. I want to affirm that everyone from Magazine33 respects this handful of individuals and deeply thanks them for performing the music for our Launch Party, providing the location, and acting admirably to our staff. I am proud to have witnessed this act of goodwill, along with the array of skill that the musicians allowed everyone to enjoy.
When Eli Cook and Ryan Underhill kicked off the evening by playing an acoustic set, I was surprised at their ability as a two-man band. The entire band members of Book of Job include Ryan Underhill (lead vocals), Eli Cook (guitar, vocals), Brian "Boogie" Thomas (bass), and Torrey Patterson (drums). However, on this specific occasion, just the two members mixed it up! Eli Cook and Ryan performed an excellent acoustic set that displayed their versatility as a rock band. Since the first time I saw them in Richmond at Emilio's to the other times I saw them in Crozet at Fardowners, in Charlottesville at the Fry Springs Beach Club, and in Staunton at the Baja Bean Co., I continue to be awed and overwhelmed at how they can bring out anyone's rockin' side. Their music grabs you deeply, hitting you hard and fast like a freight train roaring past. I have never attended one of their shows without enjoying myself and leaving energized, ready for more from whatever the night might bring.
Ryan Underhill and Eli Cook complimented each other beautifully that evening. Ryan has an amazing voice that offers a soulful presence of grit and pain, which comes through in his animated mannerism during his performance. Since this was the first time I saw him play the guitar, it blew me away to see his ability as a guitarist as well. Accompanied with Eli Cook's expressive chops on his guitar and resonating deep-water voice, the two talents offered a memorable pairing for a night filled with deep, soulful, acoustic rock and roll. Eli Cook plays his guitar as if he's been playing his entire life. When I watched him play with Book of Job in Staunton recently, I saw him slide a beer bottle on the fret of his guitar, using that in place of his fingers. The sound was raw, untouched, and gorgeous. I especially liked "Wichita Star", which takes me to a place remembered where certain experiences inevitably mark your life. I will always attend their shows and speak highly of Book of Job. I have always had great moments watching them, and I never tire of how their music moves me. They can spike the energy of a room in just one song and accentuate each other's excellent abilities nicely, thus establishing themselves as one of the stronger bands I have seen in this area for a while.
Travis Elliott and Tucker Rogers performed a gorgeous acoustic set as well when they took to their performance of the night, further substantiating their musical expertise upon their dueling guitars. Offering more of an indie influence, they performed with
extreme emotion and vitality. Even from across the bar at the 12th Street Tap House, I saw their personalities and natural talent swim across the room in waves to where I was standing, which interrupted my conversation and drew my attention straight toward their direction. I was very impressed by the lyrical composition I found within the songs I heard that evening. The lyrics mixed emotion and truth which in turn produced songs that were easily relatable to the crowd. I had also heard many good things from different people around Charlottesville that Travis Elliott and Tucker Rogers were fantastic - staple musicians in the Charlottesville music scene. I concluded after speaking to different sources and from my own association that this was a true representation for both artists. I very much enjoyed my interaction with them, and I left with a lasting, good opinion of Travis and Tucker, and I plan to see them play again, no doubt, in the future. I was also impressed by the cohesiveness that Travis and Tucker wove together to produce intricate layers of vision and color through their guitars, through their motions, and through those harmonious sounds that penetrated my senses. Every song told a story, where the lyrics matched emotive understanding, but in little increments at a time, like droplets of rain before a storm.
Travis and Tucker actually play quite often together around the Charlottesville area. Travis can be found playing every Tuesday at The Box, and every other Thursday at Ventana. Travis has also recorded a second album that is projected for release in mid-May. The album includes a guest appearance with cellist Mike Meadows and is produced and recorded by Shep Stacy and
Lance Brenner. Tucker and Travis are both quite the seasoned musicians that lend their talents to an assortment of musical endeavors in this beautiful town among the Blue Ridge Mountains. As Tucker affirms, "All music moves me and I've tried to hear and study all of it, but the blues is home. I'm influenced by all good music, especially the kind that floats around in the air when there's no other noise." Other bands that he has played with include MAN MOUNTAiN jr, Beetnix, William Walter & Co., PEEN, Ziggy Stardust, Space Cadet 7, You, and of course our very own Travis Elliott. His blues influence and that sweet voice accompanied by Travis takes us on a rhythmic journey, almost like a spiral staircase rising to a pinnacle point. This is also true of Book of Job, and it is spectacular that both sets of musicians possessed diversity and the ability to arrange sound, lyrics, and rhythm in tightly spun compositions while still maintaining consistent song structure.
Hunter S. Thompson once wrote, "Music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." While I believe this to be true sometimes, I adhere mostly to the divine side of the music scene, especially concerning my positive experience with Book of Job, Travis Elliott, and Tucker Rogers. As it was obvious to many, the young musicians have a very bright future. As Graham Nash stated, "Wealth and fame can only be so important in the face of musical magic." I am hopeful there are more musicians like them, and I am proud that Charlottesville could provide the setting. You can contact Book of Job at BookOfJobMusic.com, Travis Elliott at MySpace.com/TravisElliott and Tucker Rogers at tuquois@gmail.com. You can also find them on Facebook for further information. You can also contact the 12th Street Tap House for other music, hours of operation, and dining information at 12-street.com. Again, I would like to give my warmest gratitude to Ryan, Eli, Travis, Tucker, and to the 12th Street Tap House. Magazine33 and your fans are extremely grateful and would not have been able to enjoy themselves without you. We will definitely be seeing you around town!
Interview with Book of Job
33: What are some of your reflections, good and/or bad, with music that you have experienced?
Book of Job: Playing out is ambivalent. You do it because you love it. That has to be the only reason. It's a lot of hard work. The toughest part is trying to branch out and play other towns. Leaving Charlotte at 2 AM knowing you have to be at your day job at 8:30 sucks! That is the worst feeling in the world!
33: How would describe your musical style, how did you come to your musical style?
BOJ: The musical style Book of Job brings is rock and roll filtered through the blues. Nothing new stylistically, but I know what I know, and we write in a style that is familiar to us. It's what we know how to do, and we try to do it as well as possible.
33: What has music done for you?
BOJ: At times, it was the only thing that kept me going, and other times, it has almost killed me.
33: What are some of your influences, and how did those influences have an effect on what music you were drawn to? Those influences may be other artists, experiences, people, or anything that had an impact on you becoming a musician.
BOJ: My dad and my brothers were essential in developing what I would appreciate about music. When I was young, my dad and I would sit in the floor of our living room in the dark and listen to records. Mostly Waylon, Willie, Kris Kristofferson, and Cash. But we would also listen to big band and swing, Al Jolson. My dad was a huge fan of Roger Miller, too. That definitely added a sense of quirk to my tastes. My bros had every 70s rock album on the planet, and I have rocked out to them countless times. That is the strongest influence and the most recognizable one. So don't blame me - that is all I heard until I was 12. I thought that was the only kind of music for a while. My first personal music choice was the grunge era, an era I'm proud to have come up in, and reggae, but that doesn't show up in Book of Job.
33: How did Book of Job form?
BOJ: I put together Book of Job initially with some friends who were in a band called Fletcher Bridge. Jamie Dean played guitar and Gre Brier played drums. We had a backup singer and a harp player with us all the time. We wrote well, but we went into the studio and it all fell apart quickly, and I knew it wasn't the right fit. So we disbanded, and I almost quit altogether. Once Eli and I started hanging, I had to get back in, so Boogie and I decided to pick it back up with him.
33: I believe you said that you have some religious influence in your musical history, such as perhaps having a gospel influence through "Baptist singing." Could you elaborate on that?
BOJ: I was brought up to be a preacher. I was raised in an evangelical Baptist church. So there was that passionate, insane style of worship with the foot stomping, hand-clapping, and loud singing. It was a bit of a free for all. We used to all sing and you would get this euphoric feeling. I used to idolize the preachers that were backed by big choirs and a great band. As General Stonewall Jackson once said, "Southern women like their men a little religious and a little crazy." Women were really into the preachers and so I wanted to be like them. By the time I was sixteen I began to challenge all those beliefs. I had a tough time balancing that part of my life. Book of Job is the manifestation of that struggle. Sometimes I still lose it at shows. You kind of just surrender yourself at some point, and the music moves you involuntarily. That release makes it all worth it, and it doesn't matter who gets it or who doesn't. That is my moment.
Interview with Travis Elliot
33: What are some of your musical influences, inspirations, and aspirations?
Travis Elliot: Musically, a lot of my influences draw from any genre of music that either tells a good story or makes you really feel the songwriters' message. I also like Tiny Tim a lot.
33: What is it like to be a part of the music scene in Charlottesville?
TE: I feel it's a pretty close knit family for the most part - more so than I've seen in other cities. We borrow a lot of each other's equipment!
33: What events are you going to be involved with in the future?
TE: I have a few gigs coming up this year at FloydFest in late July with a stellar backup band!
33: What do you feel when you are singing and playing for your fans?
TE: I still feel like I'm working on getting the fans part down. But, even when a few people really enjoy themselves at a show, it really makes this all worthwhile.
33: Do you ever get nervous? Did you ever get nervous, and how did you overcome that?
TE: I get nervous a lot, especially out of town, but it's a good nervous, and when it pays off it makes it easier each time. Also, the Demerol helps.
33: What are a few of your favorite songs?
TE: Any song that's fairly new is always gonna be my favorite. I always thought of new songs like newborn babies - the parents will usually have to give them extra care and attention. While the older children are still important, they may have to pack their own lunch once in a while, if that makes any sense...But two new songs I love are titled ''Born Without Bodies'' and another called ''Waiting in Line.''
33: How hard is it to pursue music? What are the advantages and disadvantages?
TE: Charottesville has always been a great place to stand out if you're good at what you do...bigger cities maybe not so much, but this town can be a great launching pad for building confidence and getting out there.
“I'm a people person. It’s not about me. It’s never been about me. The scope is so much bigger than Lue.” – Lue Justus
Hampton Roads - Lue Justus has to be one of the hardest working, down-to-earth artists I have met to date. Far from cocky, he is serious about giving thanks and respect when it’s due. He’s always one to let it be known that he would not have gotten as far as he has without learning the business of club promotions and networking along the way. Now that Lue has signed with Universal (woop woop!), he is coming out with a single and highly anticipated album called “Intro to Soul 101.” He gives much thanks to his co-workers Reggie “Face” Medard, Taleak Harris, and Seven Cities veteran DJ Jack of Spade, who mentored him in the game after watching artists come and go.
33: How long have you been in the military?
Lue Justus: I’ve been in for five years.
33: So when do you have time for your music?
LJ: I make time for my music away from the military, so when I get off that’s what I do along with promotions and working at the club as well.
33: How long have you been with Club Blakley’s?
LJ: I was there for about two years before I got deployed, so that makes three years total.
33: How long have you been doing music?
LJ: Since I was seven. I started out in the Church of God in Christ Sunshine Choir leading songs. It’s a big atmosphere of music in the C.O.G.I.C church; we went to Memphis every year for national convocation. I only went once when I was younger, but I did most of the music in the conferences in Tyler, Texas.
33: So what’s the history on the hit single that you have blazing in the clubs and radio stations lately?
LJ: It’s called “Like Wow.” My cousin Stan Rothstein got signed to Universal Records under a distribution deal, and he moved to Virginia so I can work on my album. We were going through some of the beats that he produced one day, and he played it for me and said he was getting ready to trash it, and I told him, “No! I like that beat!” I listened to it for about 30 seconds and was like “Wow...wait a minute!”, and that’s when I went to singing some things and kept singing "like wow" on the chorus, so that’s pretty much how the song came about. The concept of it being applied to a female actually came later on. The term “like wow” is something that I always use - it’s common, especially when we’re in the club, and all you hear is people saying wow when someone does something funny or stupid. I decided to apply it to something positive like a beautiful woman, and that’s where the concept came from.
33: What’s your first memory of hip-hop?
LJ: I would have to say Dr. Dre and Snoop Dogg's “Aint Nothing but a G Thang.” I was coming up during the west coast movement so I heard a lot of that, especially in Texas. The south really didn’t get big to me until Scarface released his own album and began doing things with Tupac. Then you had the Ghetto Boys.
33: Hip-hop - define it.
LJ: I believe it to be arithmetic aptitude of poetry. I think it’s a talented way of expressing yourself though verbal articulation.
33: Wow. Nice. Describe a typical day in the studio. What’s your recording process?
LJ: Well, I start off with hot tea. I always have hot tea on deck because in the military, I’m always doing something with drill and screaming, so I drink that and a few Hall’s and go knock out two tracks of recording. I’m in the studio once a week now, but it’s going to increase as I get closer to my deadline. My sessions normally run about six to eight hours. I take a lot of time on the songs because I try to make sure the perfection is there. I do my own background vocals, and with layering background vocals you have to listen for imperfections within your own voice, especially since I don’t have background singers and can range from first soprano on down to bass.
33: Who are your musical influences?
LJ: I’d have to say my Dad. He had a great voice singing in the church. It was between him and Tonéx as well as Ike from Men of Standard. I met them and opened up for them. Ike always said I had a bright future, and I respect him highly for that.
33: Despite the fact that everything in your life seems to run together, how do you find the balance between music, the military, club promotion, and family?
Lue: Well, my day consists of me waking up at 0530, PT till about 0630, and then I go into work from 0700-1500. Then, I’m off to the studio or Blakley’s so I rarely get sleep, but in the end, it’s all worth it.
The official release for “Like Wow” is scheduled for June 2010. Catch Lue Justus on www.streetsprofit.com, or on Ustream.com every Monday and Tuesday at 9:30 PM EST with producer Stan Rothstein in “Sin City Live.”
Richmond - With the show reaching its halfway point, I grab a seat, sip my overflowing brew, and properly take note of the spectacle before me. I'm astonished that we're this far into the show and the crowd's emphatic roar has yet to drop a decibel. It's as loud as the roar you would hear between a set's end and its encore, but this roar sustains indefinitely. Gene chirps into the microphone the lyrics to "Roses Are Free" as touched members of the audience around me begin having apparent orgasms in sync with the rhythm. An overabundance of fog has now engulfed each musician before us, serving as a canvas for the colorful stage lights to stroke with reverence.
When Ween comes to town, it's always a hot ticket. Their extended discography is about as elaborate and diverse as the beer menu at Capital Ale House. Always tweaking and manipulating each genre of music that presents itself before them, Dean and Gene Ween easily maintain the cult following that's adored them over the years. They've come quite a way since their "band" of 4-tracks on the first few albums, but in the process they have never seemed to lose sight of what made their music special. Ween hasn't lost that edge - or that inside joke - that has perpetuated them to the cult status at which they reign. And it has never been as evident as right now, as I'm face to face with a mob of obsessed Boognish kin, the ones with personalized Ween t-shirts and gear and outlandish dance moves that make mockery of mockery.
As Ween digs into "Your Party," I wander through the crowd observing all walks of life. I see college kids,
hippies, fippies, yuppies, guppies, the old and distinguished, the low and impoverished, pretty gals, lonely pals, and everything in between. They all have one thing in common: their faces have melted. They've all learned what my friend Ian warned me about the Ween live show in comparison to its studio recordings: "It's like a whole 'nother animal." Possessed, they stare at Dean as he belts out magic, soaked with sweat and poison. He plays barefooted like a genie upon his personal red carpet, a square island underneath the cloud of chain-smoke he emits. He's lost in time, maybe out of mind, as he coasts into and through the classic "Freedom of '76," a personal favorite of my own.
And to Dean's right stood Gene, the anti-frontman. Possibly the least rock 'n' roll looking 
rocker to ever rock you to hell and back, Gene wails intermittently high to low, leaving no one to deny of his intentions. His appearance deceptively shows an aging wilt, but he's as free-spirited and uncanny as ever. He stalks the microphone and shares verses as only Gener does, appropriately wry even at the most irrelevant of times.
They played a bit of everything, spanning the catalogue with hits like "Spinal Meningitis (Got Me Down)" and "Buckingham Green," to an encore that consisted of "Feedback Jam," "Captain," and "Mister Richard Smoker." I would have been elated to hear "Mutilated Lips," but was quickly forgiving after their rendition of Bowie's "Let's Dance." Ian was right, live Ween is a different animal. Gener and Deaner's commitment to their inclined musicality greatly upstages the ongoing joke that treads beneath the surface. As Ween's studio albums are driven by an eclectic creative ambition, their live show is dominated by a need to rock the house to pieces. I had to see this show for that distinction to specifically come together in my mind. If you haven't been to Ween yet, it is imperative that you catch them the next time around. As they do at every stop on the tour, Ween painted Richmond a fresh coat of brown that will cease to fade.
Harrisonburg - The Mid-Atlantic College Radio Conference (MACRoCk) was founded in 1996 to promote independent music. Thanks to the immense planning and organization of volunteers from WXJM (James Madison University's radio station), local venues, and the MACRoCk Committee, Harrisonburg was turned upside-down and inundated with close to one hundred bands and musicians for two full days of non-stop music. The conference attracts bands and fans from all over the East Coast and continues to grow in popularity and size.
Chris Pecoraro and I decided to check out the scene and see what all the buzz was about. I had heard lots of hype about MACRoCk from friends, posters, and radio stations, but I had no idea it was going to be so big. It was an incredibly daunting task to cover a festival such as this. When we got our programs, I was overwhelmed by the schedule. There was a steady stream of music going on at each of the five venues listed the entire two days. I didn't know where to start. If I chose to go see one band, I'd miss the other three or four that were playing at the same time. Decisions, decisions...We decided to see if we could catch a show at each of the venues, and so we started out at the Blue Nile.
When we got there the Richmond-based band Remove was just setting up. From the schedule, it looked as if the MACRoCk 
Committee chose the Blue Nile as the venue for all the metal and hardcore bands of the festival. On the wall, there was a sign that said "Earplugs for sale at bar - 50 cents." I prepared myself for the onslaught to come. Remove played a couple of measures of slow minor chords, and then broke into driving metal with the singer shouting dark, gruff exclamations of unintelligible wisdom. One thing that always fascinates me about this genre is the drummers, and Remove's drummer is no exception. His stamina and speed left my mind blown.
After a few brain-rattling tracks from Remove, Chris and I hopped over to the next venue on our list: Clementine's. On our way over, we passed Adona Music, downtown Harrisonburg's music store. Although they weren't on the MACRoCk schedule, there was a Reggae band playing inside, so we stopped in to check them out. They were called Crucial Substance and were really jammin' out. We caught their last song and moved on to Clementine's to see Invisible Hand.
Invisible Hand is made up of two guitarists, a bassist, and a drummer. The show these guys put on was incredible. I inched my way through the packed house to the front of the stage. 
The lead singer's captivating showmanship was spellbinding. It was easy to see why the audience loved them so much. From my spot a few feet away, I could see beads of sweat literally pouring off the singer's face and the spit flying from his mouth as he hurled every syllable into the microphone. They loved making the music and the audience loved listening to it. This punk rock band was awesome live, and I really look forward to seeing them again.
After the set was over, Chris and I stepped out for a smoke break and found out we couldn't get back in because the venue was filled to capacity! We decided it was a good time to move on to the next one on our list. We rested our feet for a few minutes at the Artful Dodger. After checking out the scene there, we headed over to the Little Grill Collective to catch their last act of the night. When we got there, it was filled to capacity, too!
Luckily, after a few minutes some people left, so we squeezed in the door and saw this strange looking banjo player standing on a chair yodeling. I have seen some strange groups, but I wasn't prepared for this one. This New York banjo-singer-songwriter is Curtis Eller. The vibe inside the Little Grill was really unique. It is a sort of restaurant/cafe, so everyone was sitting at tables. Maybe it was that everyone was tired after a long day of walking and listening to music, or maybe it was Eller's lullabye-esque song about Buster Keaton, but all the couples in the place were cuddling like they were watching a chick-flick. The venue had a very relaxed feel to it, which is even stranger considering the laughter Eller's songs provoked and the amount of audience participation. I have never seen or felt anything like it at a live show, and all I can credit this beautiful environment to is the magic of Mr. Curtis Eller.
His last song was an up-tempo ditty about an elephant in Texas, at the end of which he jumped up, ran out the door and down the street, still playing (he had on a wireless mike). He then turned around, ran back the other way, jumped up on a bench outside (still playing) and had all the audience on the other side of the window sing with him, then jumped off the bench, ran back inside, did a few high-kicks, and ended the song on as powerful a chord as you can get from a banjo. The audience loved it. I have never seen an entertainer anything like Curtis Eller. I would have to say Mr. Eller's show was my favorite of the entire day.
After Curtis Eller's set ended, we headed down to the Court Square Theatre to catch the Cinnamon Band. This band is comprised of two men: a guitarist and a drummer. It is surprising how full the music sounded. Most other bands have at least two more instrumentalists, but the Cinnamon Band doesn't need them. The guitarist expertly takes care of the rhythm, lead, and bass all at the same time. The drummer provides backup vocals, which is impressive in itself, seeing as a drummer who can sing is about as rare as a rampaging elephant in Texas.
Overall, MACRoCk was an amazing, if frustrating, experience. Unfortunately, I can only be at one place at a time, which meant that I missed over 75% of the live music that night. We not only missed the bands that were going on in other venues while we were covering the bands above, but we only got to MACRoCk for one out of the two days, and we missed all the lectures that happened earlier in the day. I'm sure Magazine33 fans, with their passion for live music, can relate to my frustration. I wanted to see all the bands, even though that was physically impossible. I guess I'll just have to go back next year and catch everything I missed. If you missed this year's conference, take my advice: Don't miss the next one! Mark your calendars now for MACRoCk XIV next April. You will be glad you did!
Fredericksburg - Hello Magazine33 subscribers, fans, and readers. It is with great pleasure that I introduce you to a female quartet that has been singing together for quite some time as family. They recently formed a group called Acclaim and have been together for about a year. I had the opportunity to interview them and thought I would share it with you. Enjoy!
33: Why Fredericksburg?
CF: Fredericksburg is home for us, and it is a growing community that is centrally located between Washington D.C. and Richmond. We are deeply rooted with our friends and families.
AC: Family is very important to us, and they support us when no one else does. It just wouldn’t be the same somewhere else.
33: What is your inspiration?
AC: The love of God. We love Him with our hearts, minds and souls. We believe that it is our calling to minister through song.
33: What is one of your goals for 2010?
AC: Our goal for 2010 is to record our first CD by the end of the year. We want the songs to be played on the radio, too!
33: What would you say to other artists that are just starting out?
AJ: It is not easy! It requires a lot of work and a lot of patience.
CJ: Pray, believe, and do what you have to do.
PC: Sacrifice!
AC: There is a lot more to it than just singing. God’s business is a very serious business.
CF: Everyone in the group has to be devoted to the group and have the same goals.
The group’s members are Ashley, Angela, Camisha, and Chakea. The business manager is Brian, and the co-managers are Armita and Patsy (Momma P.)
If you would like to contact Acclaim for a program, just send them an email at AcclaimGospelSingers@gmail.com. Acclaim’s first anniversary is scheduled for Saturday, June 12, at Locust Grove Elementary School. More details will follow in the June Issue of Magazine33. Acclaim is also on Facebook.
And yes to those of you who are wondering, I do play for this group, too! Thanks for reading this interview, and don’t forget to spread the word about Magazine33.
Visit the Online Music Store:
CafePress.com/BluesTshirts
Visit Buddy and Hopkins on MySpace:
MySpace.com/BuddyandHopkins
Visit the Buddy and Hopkins website:
BuddyandHopkins.com
Fredericksburg - I took a trip down to Fredericksburg to check out "Battle for Fredrock," a six band hard rock concert kicking off at KC's Music Alley. It was there that I heard five local boys tear up the venue; they called themselves Stitch the Lids. Their hyper-fast punk rock sound blew everyone away with its straightforward hardcore energy, superfast tempos, and badass guitar solos.
Celebrating the release of their new album Check Ya' Bawls, Stitch the Lids blasted a superb set of tunes that filled the floor with rock fans of all ages. By the start of the second song, the mosh pits had opened up, and people were headbanging and crashing into one another. The boys had a professional sound you wouldn't expect from a local band. They transformed the show from a post-high school battle of the bands that doesn’t suck into a real hard rock show. Singer Josh Schimpf seamlessly transitioned from his spot-on growling to a more traditional punk-style of singing. As rhythm keepers, Eddie Johnson kept an unwavering superfast rhythm on the drums while bassist Zach Coakley rocked alongside with his iconic spiky hair. 
Stitch the Lids gives you something new while satisfying your need for that nostalgic stuff by blending the punk rock sound with hardcore tempos, screaming, and lightning-fast eighties power-metal solos delivered by guitarist Phil Johnson. One of my favorite STL moments was the third song of their act "Sweet Nothings." Guitarist Swinger Buskirk played flawlessly even as a fan jumped on stage and poured beer down his throat, a Stitch the Lids concert tradition. By the time the next song was underway, Josh was down in the audience, screaming his head off and doing his Irish jig.
A lot of beer was spilled on that floor that evening, but the aggression was all in good fun. They played a couple cover songs; the most memorable was played after the song "Kill for Family, Die for Friends." A bunch of girls in the audience started chanting, demanding to hear Ice-T's infamous song "Cop Killer," which STL performed beautifully, rounding out a near-perfect set of adolescent mayhem. I had the pleasure of having some time to talk with the boys after the show in what could have been the private lap-dance area of KC's. Here's what I found out:
33: When did you guys first start jamming together?
Phil Johnson: About a year ago, when we started off, me and Swinger were doing a little recording project, and Eddie, who's played drums with us for years, came over and said, "What are we gonna call it?"
33: How did you come up with the name Stitch the Lids?
PJ: It was actually a song that we wrote that kinda sucked, but the vocals were cool and the first line of the song was "Stitch the lids." So we threw that name out at practice and it stuck.
Josh Schimpf: So one good thing came from that song. We ditched the song and got a band name out of it.
33: What has changed since you signed up with No Explanation Records?
JS: It's more of a consignment thing with these guys [NoEX Records]. We did everything to get the music made and recorded. They took care of pressing the CDs, and they're helping us with online distribution. For the most part it's still do-it-yourself, but with a little help.
Zach Coakley: We got to design the whole CD layout ourselves. We just sent it in, and they printed it for us.
Eddie Johnson: They're also in charge of booking a lot of our shows, which is cool, because we don’t have to worry about that part anymore.
ZC: There's a lot of bullshit that comes with booking shows, and it's cool to take some of that stress off.
JS: It's still for fun for us even though we're a little more serious with this band. It's just an outlet for me. If I can go somewhere and scream my ass off for an hour or so, I'm a happy guy.
33: What kind of shows did you start doing at the beginning of this project?
JS: All of us were in different bands before this one. We've played everything from a volunteer firehouse, record store openings, northern Virginia Beach, keg parties. We've played for zero people, and we've played for a thousand people.
33: What is your favorite type of show to do?
Stitch the Lids: Parties.
JS: If it has a keg, it's a good time. That's what we're mainly after in a show. There's no revenue at all. We want to make this hobby pay for itself by just having a good time.
33: What is your LEAST favorite show to do?
EJ: We get stuck in a lot of shows where we're the only punk-genre band. We play with a lot of death metal bands and hardcore bands with crowds that don’t dig us as much because we have that punk element to us.
33: What sorts of bands would you say have influenced your music the most if you had to narrow them down to just a few?
Swinger Buskirk: I think NOFX is a big one for all of us. When I write music, I'll sometimes listen to some old Agnostic Front and get an idea for a riff.
EJ: I think Slayer definitely has a little influence on us.
ZC: We're trying to add a little more aggression to the punk rock thing.
33: Where do you see this band going after this first album is released?
PJ: That depends on Zach.
JS: As long as we're having fun, we're gonna keep doing this.
SB: We're all good friends. There's no beef between us, unlike some bands who are all dicks to one another. We just get together and have fun and get drunk.
ZC: Writing this album was so effortless. We went into the recording studio and just hammered out all ten songs. We felt like the most efficient band in the world.
JS: We could not show up for practice for a month and then come back and nail every song. But very rarely is there an "I can't make it to practice." Every Monday night.
33: So this group has the right kind of chemistry amongst the members?
JS: We pump out songs no problem. Swinger would come up with a riff and Phil would throw a lead on it, and it would just naturally build from there. 
EJ: And that's very implanted into our live shows; we've learned to feed off each other's energy while on stage.
SB: And we inspire each other. For instance, Zach and Josh will write a song, and then I'll get pissed 'cause I didn’t write a song so I'll say, "Fuck it - I'll write a song right now!" We'll have back and forth feuds on who can write more stuff. I was writing "Two Shots Ring Out", and I started with just two riffs. Josh said, "Just play them!" and Eddie added the drums, and then Josh chimed in with his stuff. By the time we finished, Josh, Eddie, and I had naturally ended it at the same spot and haven’t changed the song since. Good chemistry.
33: What type of audiences do you get?
ZC: We can have fairly descent turnouts like the show tonight. We had about twenty kids from Fredericksburg follow us up to Baltimore one time. Some shows would suck otherwise; it's good to have that circle of friends at certain shows.
JS: We would have to make flyers for the shows we did. Swinger does the flyers. We're trying to get that high school audience. No one ever shows up for the Fredericksburg shows because the promoters never promote them properly for whatever reason. Sometimes you just gotta use word-of-mouth to get a crowd.
PJ: Nowadays we have the record label booking our shows, but we still try to find shows ourselves to play if we hear any word. It's good that we don’t have to book all our shows now, but we still try and grab extra gigs on the side.
SB: One problem is that lots of places in Fredericksburg will refuse to do all ages shows, and you can only get so far with an audience of twenty-something-year-olds who have been listening to the same crap for decades. Unless you're able to find open-minded people who are looking for new music, you gotta infiltrate the high school scene. Without the younger audience, you're only gonna go so far. When I was in high school we passed out flyers at school, and we ended up with three hundred people coming to see us. We can't do that anymore.
JS: The younger, high school people are usually the ones who get stoked about new bands and local bands as well.
33: What would be your second passion besides music?
SB: Can't say that for legal reasons [laughs]. Aside from playing music, I'd say that my passion is drinking. And socializing.
JS: I like getting lost in the woods. Ya know, just wondering out somewhere, hiking through the woods, swimming through a river.
EJ: Yeah, on a day we don’t have a show I like to just go hike in the mountains somewhere for about twelve hours. I'll call the guys, and if nothing's planned I'll tell them, "Hey, we're going to the mountains!"
PJ: I like to surf the internet, drink some beer, and watch football.
ZC: When I'm not working or playing music I'll be working on my car or working out. We're all good about hanging out together; when there's a party, all five of us will be there. Phil will give me a holler and say, "Let's drink a hundred beers!"
EJ: And he's not joking either.
These are some good-ole Fredericksburg boys playing some badass tunes. Check out Stitch the Lids on Facebook and MySpace, and get ahold of their debut album Check Ya' Bawls at www.noexplanationrecords.com. Rock on...
