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We’re Community Chest RVA, a grassroots, homegrown, music (not industry) driven booking agency located in Richmond, VA. Over the past year and a half you’ve probably seen our work at The Triple and Plaza Bowl. Our mission is to work with bands to properly promote shows, advocate young talent, and strongly support the ‘Anti-Pay-to-Play’ movement. Too many locals are being taken advantage of by means of selling tickets for an opportunity to play certain venues or in some cases having to pay to rent out a for-profit venue.

RVA Mag reached out to us to shine a new light on this section of the music issue. You won’t find the same old bands in this part of the magazine. Suffice to say there is not enough space to praise all our beloved Richmond bands, but here’s a list of locals you should get to know.

AMAZING GHOST Featuring members of Bio Ritmo, it’s only natural that Amazing Ghost will get you out of your seat with their psychedelic club beats.

ANDY MOORE She pours her heart and soul into every song. You’ll leave her shows knowing exactly why there’s not enough musical talent to go around. .

AUTOCUE Clinically proven to transport you back to the days your acne meds, Engine Down album, and waxing sex drive were the only things you were passionate about - and make you feel good about it.

BONEANCHOR Rock & Roll ain’t dead as long as they’re alive. This three piece Indie/Rock band has been pleasing crowds since 1992. Front man, Wrenn Mangum, has moves that would make Elvis blush!

BATTLEMASTER An epic metal soundtrack to lead the triumphant battle against Chimeras, Succubi, and Black Dragons.

CARLITO Plays those classics from Bollywood films and beyond. Eclectic choices and a great knowledge of world music, Carlito hosts Bollywood night at Cous Cous and If Music Could Talk on WRIR 97.3fm on Sundays from 7-9pm.

CHEW LA ROCK Insane record nerd from Crate Invaders, Fun Tards, and Plan 9 Dungeon fame. Well known for making you “shake your titties” with one of the largest collections of old-school funk and soul in the city. Chew can be found lurking records at flea markets, playing backyard parties, and on “the res”. Don’t miss him live.

CAVES CAVERN s Kinda like Halloween met a 70’s surf band, mingled and cut an album.

CHRIS MCNEW He’ll proudly tell you himself that his performances aren’t family friendly. His calming, southern drawl lain atop a smooth folk guitar somehow coalesces seamlessly with his intensely witty foul-mouthed lyrics.

CLINT MAUL Bringing a unique alt. country sound to the table, Clint is as humble as his music is good (this is a good thing).

COLE SULLIVAN You know the kind of person all hipsters emulate themselves after? Forced awkwardness, ironic apparel, rolled cigarettes? That basically describes Cole, the only difference is that he actually is kinda awkward, his clothes are ironic, and he rolls cigarettes because it’s cheap. His music is, in a sense, an extension of his demeanor: honest. This kid is certainly well on his way to making a name for himself!

Cole listens to a vast range of music, which might explain his diverse expanse of sounds. He’s like a one-man variety show; sometimes you’ll get folksy, solo Cole.

Other times you’ll get Ladies Night, a more upbeat side project featuring Bryant Vincent, Farris Hart, and Kade Jentink. If you’re really lucky you’ll get the trippy, experimental Dark Morph Mantis.

Whatever you’re into, Cole’s probably doing it, better.

COLOR KITTENS Surf, Garage Rock, Punk! How could you go wrong?

Grab your deck and let’s all go sidewalk surfing!

CUBSCOUT AND THE RHINOCEROS After leaving Dead Goats, these guys decided to turn up the sex. Playing as a two piece electrogarage band, they won us over immediately with the sex-driven lyrics of “Love & Laughter,” which is rumored to cure E.D. The Bee Gees have nothing on Kemper’s falsetto range and Stewart’s bust-a-move beats. Check these guys out if you’re looking to dance with some ladies. Who knows? You might find yourself between some “creamy thighs” before the end of the night.

DEAN LEE & THE UNWELCOME GUEST He sure knows his honky tonk country, and the only reason the rest are “Unwelcome” is cause they keep drinking us out of house and home.

DIVINE PROFITZ In a time of terrible hip-hop, these kids are straightshooters with a respect for their past while maintaining a progressive, upbeat and real attitude.

EL ZOMBIE Determined melodic metal donning latin-popularized Lucha wrestling gear is what you get when you see El Zombie. Possibly the reason shows are called “shows”, this band pulls out all the stops with their unexpected theatrics.

EASY TIGER This is one of the best DJs in the city! It is like Easy Tiger is in my head sorting through every guilty pleasure and gem to make me dance! Pop, top 40, hip hop electronic and more. 100% guaranteed to make you shake your ass.

GUMBY Regularly spins in Richmond at the usual dancy haunts, Rumors, NY Deli and Godfrey’s. Mixes and remixes rap, electro, top 40, and tons of other wacky stuff. This guy has a sense of humor that is apparent in his DJ choices.

MACHINE LIFE DJs The Kontact and Maxwell Fisher dish up electro, pop, house and new wave dance jams that will have every one doing the robot at least twice on the dance floor. Catch them every Wednesday at NY Deli - just don’t ask them to take requests.

MICROJOY! Seemingly influenced purely by the type of fun that only a healthy diet of weed, beer, or a combination of the two could produce. MicroJoy’s dub, punk, electro beats will knock you on your ass.

ILAD Truly a smörgåsbord of delight with great fusion of jazz, folk, Americana, funk, psychedelic and so much more!

LONG JAWNS of Henrock, and mastermind behind Braindrain and RVA4DP, plays a manic mash up mix of pop and hip-hop.

p h oto by Dav i d Ke n ed y

JB BEVERLEY & THE WAYWARD DRIFTERS is an incredible unsung American honky tonk musician. Truly a ‘rolling stone’, his journey trumped the destination.

NICK COWARD Don’t let the name fool you. This is not a one man-band.

When we first heard the lofty and nonchalant vocal styling of Nick Coward, he had shyly sauntered into the club, sat down amongst a group of friends and waited to play. Just Nick and his guitar. The next time we saw the young song bird he had grown into a 7 piece...orchestra? This is one of the most gripping bands I’ve seen in a long time. They effortlessly command the attention of a room.

If you thought this city didn’t have a truly talented band to offer, you were wrong.

OCTANE SAINTS Talk about an amazing yet over-looked band! These guys should be the soundtrack to every beer guzzling, lady chasing, party-person on earth. Legends in their own minds, the Octane Saints have been a major influence in building and keeping Richmond’s raw rock and roll scene alive. No sissy hair cuts or tight jeans here. With their ‘in your face’ guitar riffs, hard hitting drums, and a sex, drugs, and rock and roll attitude, you’re guaranteed a hangover after checking these guys out.

MORDECAI One of Richmond’s busiest DJs, Mordecai hosts My Prerogative at Cous Cous on the first Friday of the month. He also host the Richmond Soul Stew radio show every Friday from 7-9pm on WDCE 90.1FM, and podcasts from doublestandardcrew.com. Mordecai is one half of the Double Standard Crew (w/ DJ Barnacles) and specializes in old school hip hop, funk, soul, break beats, and tosses in a little disco for flavor.

RATTAN DJ REI ALVAREZ >>> the lead singer of local Latin legends PRABIR & THE SUBSTITUTES Richmond’s modern day rendition of Beatles-esque rock and roll. I’ve seen women in tears at their shows. Whether or not they thought Prabir was Jemaine of Flight of the Conchords remains to be determined.

Bio Ritmo moonlights as a DJ at Gibson’s Grill every Wednesday. Spins amazing vintage and modern Latin music to make shake you hips and sway your shoulders.

RUDEBOI Playin’ these tight 90s jams back from your school dance, r&b,

p hoto by S a ra h Wa lo r

pop, hip hop and junk. Makes me wanna sing karaoke and wear my Jncos. And he’s running that Henrock party. So fun!

SNIPER RASH For all you young whippersnappers who think you know all there is to know about Richmond Hardcore, meet a band that actually lived it. Sniper Rash features larger than life (seriously, he’s like 7’5”) celebrity Mark Holmberg.

SPIES Like many indie-rock bands whose sets consist of sensual songs coupled with more weighty rock and roll jams, Spies offers just enough of both to leave you feeling satisfied. What sets them leagues apart from the ‘norm’ is how hauntingly similar the singer sounds to Elliott Smith.

SUZUKITON Metal, Beer, Metal, Beer, Metal, Beer, Metal, Beer, Metal, Beer, Metal, Beer, Metal, Beer!! I promise you’ll have a headbangers’ hangover!

THE HOTDAMNS Rock & Roll + Country + Indie + Booze! It’s simply awesome math.

THE ITCHY HEARTS These kids capture that great folk-rock sound with an obvious punk rock influence.

THE MILKSTAINS Young ambitous old unindustrious souls. The Milkstains have perfected the art of serving up mezmerizing surf-style jams while maintaining a fresh approach to the genre.

THE SCHOLARS If you yearn for solid, hard-hitting, intellegent hip hop, Hurricain and King will force feed it to you. Currently circulating the underground hip-hop scene, soon to be circulating the American Dream.

VAPOR RHINOS Since the 80’s these guys have been taking their own advice: “If you can’t cut the mustard...cut the cheese!” This legendary two-piece is still a power house of rock & roll!

VIKING remixes dancmatic pop, indie and top 40 and runs with the RVA4DP, fellas. Wish this dood would play out more often - he’s got some pretty interesting remixes and I’d love to see what he can do live more frequently.

Some music cannot be exorcized by trend, buried by the antiquity o f tradition and boredom. It is inherent in Kudzu, sways in the willows. It strolls across trestles, grows tobacco, climbs mo untains, and sinks its feet into riverbanks.

At times it may fade, may all but disappear into the corporate fields o f misperceived relevance, but invariably returns to haunt the ver y cavities o f so und, fulfilling its own destinies. It returns to fill the caverns o f sonic experience that were dug by divine hands into o ur conscio usness so that the unspeakable value o f life co uld be known, like love and other gods, to exist.

It is fitting, then, that this specific (albeit broad) immor tal family o f music is known as “Old-Time.� It is not simply the music o f a generation or era. It is something ancient and integral, universal in weight and in dialect.

Some music is immune to the afflictions of time. Eternity resides in the notes of strings, circles in the hollow chest of acoustics, pulling apart the years as the sepia tone of history flows through sacred melody, braiding itself like rain around cobblestone, coloring the windowsills with bowstrings. illustration by R. Anthony Harris

At its quietest it is an echo o f vibration, a dissipated spirit whispering twang into the ears o f songwriters hunched over channeled ghosts and inspiration. At its lo udest, it is carnal, a frantic dimension, combusting beneath the frailing fingers and stomping feet o f humanity.

In Richmond, as with most things, it is on the tip o f o ur cultural tongue, balancing on the edge o f limbo, waiting to slip into the right ear and pull itself back into the screaming uncer tainty o f daily life, to once again take its place at the table o f musical parlance and narrate the things we remember, and to be sung when we forget.

I had caught whiffs o f it the first year I moved here, like chicor y in so uthern co ffee, or pot at a legalization ben-

efit par ty in the basement o f an abandoned building, where I saw Special Ed and the Shor tbus for the first time.

The building is now a renovated, upscale complex at the heels o f the Convention Center, and the band is now The Hot Seats.

The music has changed a little, too, but like any aging individual, remained quintessentially the same.

Josh Bearman, who, depending on the song, is The Hot Seats’ mandolin, banjo, or bass player (as well as the host o f Edge o f Americana on WRIR) is a true aficionado o f old-time, jug band, ragtime, bluegrass, and many other genres I can’t recall, which he dropped like the names o f old friends in o ur conversation.

Josh Bearman: “A lot o f people look at bluegrass as a traditional form o f music, but it’s not; it’s actually a commercial form, derivative o f Old-Time music, which is the traditional music o f Appalachia [prono unced appleatcha, because that’s how the people who live there say it]. Bluegrass also has a much heavier emphasis on soloing, whereas Old-Time is more gro up oriented, it’s abo ut presenting a song together rather than having one person step o ut in front o f the rest o f the band. ” Bearman describes his experience o f Old-Time music jams as a meditative, self lessly trance-like state, in which the players submerge their conscio usness into a hand-me-down rhy thm, par ticipating in the life o f a song that has spanned hundreds o f years, and can be heard echoing thro ugh Virginia mo untain ranges, or filling Broad Street venues on any given night.

JB: “But then, yo u’re always playing it slightly different then it has been played before. Some songs yo u might not even recognize as being the same, depending on where yo u hear them, but they have the same name, some common root.”

Perhaps it is this balance o f individual expression realized within the context o f a self less experience that has drawn so many o f those with DIY, punk, and anarchistic philosophies to identif y with the ar t form.

JB: “ Virginia has a lot o f Old-Time festivals, and at some o f them, there’s this huge population o f indie kids. And a lot o f the kids yo u see, they have tight, shor t cuto ffs and tattoos and piercings and dreadlocks. Yo u’d think they’d be playing hardcore or punk.”

At first the notion o f a characteristically rebellio us co unterculture embracing a traditional ar t form may seem co unterintuitive. For so long, the Anarcho-Punk scene was classified by its fier y pull in the opposite direction o f all things socially mandated, or even acceptable. I posit that these movements have gained maturity by finding a balance between the merits o f tradition and radical self-expression, much like the individual finds and loses themself within the shared experience o f a jam. Bearman doesn’t entirely disagree, but o ffers a different explanation.

JB: “I think in o ur culture o f technology, getting back to something that’s completely analog is rebellio us. Ever y thing on the radio is so clean, I think that the idea o f a scratchy, slightly o ut-o f-tune, really kind o f human form o f music becomes appealing.”

Of all the local musicians who have taken to Old-Time music, this conversation brings one in par ticular to mind. She looks like a train-hopper and so unds like what yo u might expect o f a honeysuckle endowed with vocal capabilities. Alison Gail Self, a ukulele-toting, self-described Anarchist with a passion for Bessie Smith and Judy Garland, wo uld appear an anomaly, but is actually par t o f a growing movement. Her methods o f procuring musical knowledge share the same balance o f progressiveness and custom as her personality.

Alison Self: “When I was little, my favorite movie was The Wizard o f Oz, which led me to Judy Garland, which was definitely a star ting point for getting into other older music.

“The internet played a huge par t in my discover y o f old music as well. There is just this vast wealth o f information, entire websites (redhotjazz.com, etc.) dedicated to preser ving old music from 78s and the like. It’s just amazing.

“It eventually became this obsession I had with any thing old timey or ‘retro’ from abo ut age 15 up until now (I’m 22) and it only gets worse (better?) ever y year that I am alive and get to learn abo ut random other ar tists and meet other people who are just as into it as I am. It’s sick sometimes, really.

“My decision to star t playing the ukulele when I was abo ut 18 definitely helped push me in the old timey direction as well. The ukulele was real popular in the 1920s and 30s so some o f the first songs I wanted to learn were popular hits o f the time period like ‘5 Foot 2, Eyes Of Blue’.”

I had heard Alison play a few times, mostly at par ties af ter I’d lent my hand to the draining o f some backyard keg, losing myself to a bonfire while she picked notes o ut o f the smoke. But it wasn’t until I saw her at The Camel, opening for the High Street Lowlifes, a local Jug Band, Ragtime-type act, that I recognized the archetype within her persona. There is no posturing, no theatrics. She is genuine in a rare way, and one that can be explained only by the experience o f seeing and hearing her play. There’s no preemptive “fuck yo u!” but instead a palpable sense o f self-acceptance that circumvents the need for aggressive self-asser tion.

AS: “I guess thinking back, the fact that I was a rebellio us, punk-as-fuck 15-year-old probably helped me get into obscure music too. Probably because no one else my age really knew any thing abo ut it, so it helped me feel special or something. But it wasn’t like I was just into it because it was different, it’s hard to explain. It’s almost like when people describe falling in love, or love at first sight, that’s how it was with me and old music. I just heard it and that was the end (or the beginning) it was raw, it resonated with me for some reason, and it is so fucking cool and continues to amaze me constantly.”

As I watched the High Street Lowlifes bo unce thro ugh their set, kazoos buzzing like Disney bees, banjos dangling like the legs o f a kid fishing o ff a bridge over the deep buoyancy o f the upright bass, I co uldn’t help but wonder what the attraction to old music was, par ticularly because I felt it too.

No matter how stylistically varied the songs were from each other, there was a common, haunted vibrancy, instantly possessing abo ut them.

There was also an edge, one that the Richmond area seems to give all its bands, regardless o f genre. There’s an intensity that categorically defines the music made here, a grit, an urban so uthernness, and tho ugh we discussed it brief ly, neither Josh Bearman nor I co uld quite point to what it is.

It is that ubiquito us, indefinable quality that makes Old-Time make sense here. We are the figurative and geographical border between the deep so uthern drawl o f reluctant society, and the progressive culture o f nor thern metropolises. We are the intersection o f America’s past and future, wrapping o urselves in the reliable comfor t o f Grandma’s quilt and stepping o ut into an age where hillbilly songs are shared over computers and set as iPhone ringtones.

I’m not submitting that Richmond will be made the Seattle o f Old-Time music, that corporate radio stations will plunder the sidewalk pickers in Car y town for hit records, or that there is any thing to it but this: an oppor tunity to cr ystallize not just o ur sonic identity, but also fur ther o ur appreciation o f what it means to be a par t o f Richmond. Like the dynamic o f a hootenanny jam session, it is and always has been something necessarily defined by the collective harmony o f o ur individual contributions. But it begs the question: when the time to end one song and star t another comes, when the gro up applies the brakes to the wheel o f chords, will those with ulterior motives, those who aren’t paying attention, notice, or keep playing and crash thro ugh the windshield that separates us from the unsentimental modernism o f indifferent trends? In other words, are we ready to give up o ur stubborn individualism, and be a par t o f something together, something with little widespread commercial potential, something great?

THE

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Rudy Lopez and business partner Billy Manzanares started Henry Gallery (thehenrygallery.com) for all the sneaker freaks that lived in the city and had no place to go for their addictions. In the process they ended up breathing life into the club scene with their promotions arm, Henrock, throwing killer parties, and making local celebrities out of their deejays and hype crews. All of a sudden Richmond was officially pimped.

Tony: Henrock has given Richmond a steady stream of great parties for people that like to dance and look sharp. What do you think of promoting in Richmond? What do you see as the positives? The negatives?

Rudy Lopez: Back in the 90’s, for whatever reason, Richmond was still very segregated in terms of scenes, crews and cliques. You had your core kids, your party kids, your backpackers, your common man, and so forth. And nobody really fucked with anybody else for the most part. I started to see a change around 2003 when Stnd Issue and Cobra Kai started throwing parties at Nanci Raygun and when me, Eyecue and Ohlaroc were still doing The Reflex at Godfrey’s. Back then, the term “dance

party” wasn’t pigeonholed into a certain kind of party. It was still called “dance night” and a wide array of music would be played. But promoting changed because we started promoting to anyone and everyone that wanted to come out, have a good time and get themselves into a little bit of trouble.

This is when I noticed all of the different kinds of people that would come out. Promoting shifted from grassroots efforts, such as flyer bombing, to cyber bombing via MySpace. MySpace changed everything. You’d be able to tell literally thousands of people about your event and you wouldn’t even have to leave your couch. And the genius part about it, it was at zero cost. The promotion has shifted to Facebook and Twitter, but the same principles apply. The negatives? The first thing that comes to mind is information overload. People are getting fed up with these bombardments of events. Things are starting to blend together and the information passes the reader by. The challenge is to keep things fresh. When things start to get too predictable, it’s time to flip the script.

night, so he/she has to connect with me. I like to hear different genres of music, not just one. The crowd is crucial also. Memorable nights always include close friends and family. Outside of that circle, just people that are in good spirits and are there enjoying themselves, not too wild out or twisted, or to trying too hard to be noticed, just a feel good environment. No knuckleheads! Lastly, the venue has to be relevant. Are the bartenders and staff cool? Is it too smokey? It all matters.

What makes for an unforgettable night? Which ones have been your favorites so far?

Underground house party or high roller club night?

Which is the better scene?

Aw, man, it’s all so personal. My unforgettable night is probably another person’s snooze fest. The DJ provides the soundtrack, vibe and energy for the

That all depends. Both have pros and cons. Underground house party sounds collegiate, while high

One that comes to mind is Doddie’s set when he opened for Biz Markie in DC. The Stoplight Henrock was pretty tight. The Versus party at the Raygun was fun. That was me, Bobby La Beat and Krames vs. Doddie, Ohlaroc and Kool Kut Ninja, which was Long’s old DJ name. There was also the last song I played at Love Stinks a couple of years ago. I dropped “Always and Forver” and everyone got bunned up and started slow dancing. It was such a sharp contrast to the rowdiness that usually ensues. That always sticks out in my mind.

Rudy Lopez >>

roller club night sounds douchey, right? It’s a toss-up. For Richmond? I’d have to say underground house party. But I would like to see Richmond start going in the direction of a combo of underground house party and high roller club night: the underground crowd in a comfortable club/lounge environment. That’s one of Richmond’s biggest problems - lack of venues.

Haha. The Richmond music scene (not just hip-hop) as a whole isn’t what it used to be in the late 90’s/early 00’s.

CAPS and Virginia’s outdated liquor laws aren’t helping either. Richmond hip-hop is still around. You got a lot of the original heads, such as Richmatic, that keep it going.

Mordecai put out a nice mixtape not too long ago. Then, you got the Students of Hip-Hop Organization bringing the latest acts to town. I do think the Richmond hip-hop scene is divided among themselves. All of the different With everyone a deejay, does spinning actual re- promoters need to throw something together. cords make you more legit or a dinosaur?

Your store Henry is a haven for sneaker junkies. What Everybody’s a deejay these days. Spinning actual is it that you love about it? Any favorite sneaker of all records makes you more legit! You actually had time? to learn the fundamentals of deejaying. I think a lot of deejays these days are focused more It used to be about the camaraderie of it all, when it was on production and less on mixing. With Serato, still a subculture. Now, I think it’s kinda like breakdancthere was an explosion of deejays coming out. ing in the 80’s. It’s been exploited by the mainstream You’d think that a couple of them would be hot and kids are looking like clowns. It’s gone from who has female deejays. Where they at? the most obnoxious, loudest style to something a little bit more obscure and timeless. “Trendsetters” are now Loved Hip Hop Karaoke at Gallery5 a month communicating with each other through clean silhouback. Since you love the music maybe you can ettes and details, rather than a limited edition sneaker. help me out. Where is Richmond hip-hop? I haven’t heard anything fresh in a minute. Did it One of my favorite sneakers of all time is the Nike Air all go to Philadelphia with your old band, Infec- Max 95. Typical? Yeah, but that’s one shoe that everytious Organisms? one had, no matter what scene they were in. In Shafer Court, I remember seeing hip-hop kids rocking them

with baggy jeans and 5-panel hats, core kids rocking them with cammo cargo shorts, and party kids rocking them with UFO pants. Heads can relate special moments in their lives to those shoes.

Hammer or Vanila Ice? Who was more legit at the time?

C’mon. Did anyone for real, for real take them seriously? Hammer did try to make that gangsta crossover though. Who can forget “Pumps and a Bump?” It’s good he doesn’t get all salty about this past and can make fun of it.

Last question, can the parties get much bigger without getting lame?

Of course! I want to see them get much, much bigger and better! I have a vision of bringing the days of multi-room parties back! That’s something this generation hasn’t experienced. And there are those that can’t fuck with this or that music. With different rooms with different music, there are options. This fall, I want to bring all of the deejays together and throw a huge party. “Planet Rock” steez! Who’s with me?! thehenrygallery.com

OUR LOCAL RECORDING STUDIOS SOUND OF MUSIC RECORDING STUDIOS

321 west broad street richmond, virginia 23220 (804) 788-0607 soundofmusic.org

Sound of Music Studios is one of Richmond’s most popular recording studios. The studio is currently headed up by David Lowery of Cracker and Camper van Beethoven, Craig Harmon, and noted session drummer Miguel Urbiztondo. Sound of Music has bounced back from the smoke and water damage caused by a fire next door to the studio in the Spring of 2007.

p h o to s by PJ Sy kes

This year, SOM has worked with some really great local and national acts, and the staff has been lauded for their work in publications such as Pitchfork and Magnet Magazine.

Their colorful studio near Jackson Ward is chalk full of character, and has hosted bands like Cracker, Carbon Leaf, Lucero, Archers of Loaf, Lamb of God, Avail, Daniel Johnston, and tons of other local and national acts.

Local indie rock band Marionette recently finished mixing their album with SOM, and Sweat Lodge, Hex-machine, Lauren Hoffman, The Hotdamns, Jonathan Vassar and No Dice have all recently recorded there.

Later this summer SOM will record with Souvinir’s Young America and Blue Line Highway, among others.

The studio boasts an impressive roster of producers and engineers such as John Morand (Four Walls Falling, Strike Anywhere, Hanson, etc.) Bryan Hoffa (The Gaskets, The Kills, Jonathan Vassar, etc) and Alan Weatherhead (Sparklehorse, The Comas, Camper Van Beethoven, etc.). They’re also welcoming a new crop of producers and engineers, including Bryan Walthall.

SOM is a two studio recording facility with an impressive collection of gear, notably vintage German opera microphones, and about ten different organs, among other things.

Sound of Music has also jumped into the First Friday Art Walk, displaying artists in their front window and opening their doors for free concerts during live recording sessions in their main studio.

-Lauren Vincelli

VIKING RECORDING CO. vikingrecording.com allen@vikingrecording.com

Recordings include: Liza Kate, The Catalyst, Mermaid Skeletons, Pink Razors, Homemade Knives, Mouthbreather and several more.

Allen Bergendahl has been kicking around Richmond for a while now, recording bands for the better par t of a decade. He has car ved a niche for himself giving folk acts warm and lush recordings that represent their music better than they could have ever imagined. Just give a listen to almost any record released on Triple Stamp Records, or Liza Kate’s most recent Record.

Not to be pigeonholed, Allen has also wor ked with raucous punk bands. One listen to The Catalyst’s side of their split 7” with Brainwor ms, and any preconceived notions of what Mr. Bergendahl is capable of will be erased. Now recording out of the legendar y Sound of Music Studios, this affordable and efficient engineering machine is better suited than ever to give you the quality recording you need.

THE ETCHING TIN

320 brook road richmond, va 23220 (804) 643.8989 etchingtin.com info@etchingtin.com

Memorable Artists: The Amoeba Men, RPG, Hallelujah!, Hex Machine, Alabama Thunderpussy When someone says the words “etching tin”, what do you immediately think of?

If your mind drifts to metal engravings and not the local Richmond-based studio, that’s perfectly fine. But you might be surprised to realize how many of your favorite bands have stepped foot within their recording space. In the span of three or so years, the studio has helped record albums and singles by the Amoeba Men, La Mere Vipere, RPG, Direct Control and numerous others. It doesn’t hurt that the studio is co-owned by former front man of Hallelujah! John Chambers.

With a mission statement like “creativity is timeless/it should never feel like work,” we can only expect to hear this studio’s contributions to the sound libraries of this city for years to come.-Shannon Cleary

KILLING MOTHS WITH LANCE KOEHLER Shannon Cleary

As I sit back and take in my record collection, one common thread becomes apparent. A majority of my catalog of Richmond artists has been recorded and engineered by Lance Koehler, the proprietor of Minimum Wage Studios.

Whether it’s Pedals On Our Pirate Ships, Hotel X, Josh Small, or Bio Ritmo, Koehler has helped nurture a raw, organic sound for each of these artists. This sound supports and affirms the numerous voices and styles that complete the Richmond music scene.

As I met with Koehler, I was introduced to the space known as Minimum Wage Studios.

Stacks of drums, vintage instruments and a plethora of names for everything surrounding

me, all added to the personality of the studio. In a story told by Koehler, apparently the first floor of the studio acted as a shelter for reconstructed automobiles of moonshiners. If they were attempting to have their intentions remain hidden, the recordings of Koehler certainly are not.

Koehler first approached the idea of recording by experimenting with two boom boxes. He would examine ‘80s instrumental tracks and write lyrics to go along with the preexisting music. The final result would be the use of another boom box to record his voice embedded into these instrumental songs.

From there, he acquired a four-track in high school and recorded his own material with the accompaniment of guitar and piano. But Koehler’s passion remained with the drums. His experiences would later allow him to pick up tricks from fellow engineers and bands that he recorded demos for. The luxury of these demos was that they allowed him to begin networking with particular music communities. One band would hear his work and through a

web of connections, they’d contact Koehler with the desire of working with him.

off of the idea that a single take, even if slightly off, could to-

has played drums on the Tim Barry solo records, as

tally make a song better than anyone involved could imagine.

well as his artistic involvement with the No BS Brass

Whether that’s a slightly off beat, a misplaced microphone that

Band, to name a few. It’s an incredible honor for the

During the time he spent working with other engi-

picks up an unintended tone, or a guitar that is a little out of

engineer and it allows him to continue to filter out

neers, one thing bogged his mind. There was a par-

tune, all of these and more can give a recording a personality

the aspects of recording that are frustrating to him.

ticular prevalent drum sound made popular during

that is all its own. As he puts it, “It’s all just about the right take,

In an age where Auto-Tune and correction are stan-

the Eighties that was awful, to say the least. Koehler

and it happens all the time where we will hear something that’s

dards, Koehler sees those tools as more of a way of

encountered it time and time again when he would

a little off to the song, but we fall in love with the existence of

homogenizing music. It takes away a part of the ex-

enter a studio and lay down a few tracks. As soon

that little moment.”

citement of hearing how an instrument is intended

Along with these recordings, street recordings instill a fascina-

hler’s accomplished recordings offer a testament to

as he heard them back, a wave of confusion came over him. Every drum take sounded incredibly thin

to sound like. By going for an organic sound, Koe-

and compressed. He tried to figure out why his kit

tion within him. In past travels, he spent time venturing across

allowing an instrument to be truly personified and

sounded nothing like it usually did. How this helped

state lines and recording demos along the way. With Rich-

an artist to sound human.

him, though, was to enhance his abilities of com-

mond’s distinctive nature, there are opportunities all around us

municating with producers from a musician’s stand-

to use these surroundings to our advantage. A song recorded

Nine years later, after establishing the studios in the

point. By learning the terminology, his thoughts and

near the trestles with a guitar and voice could expand to un-

city of Richmond, Koehler still finds himself occu-

ideas were better expressed, and barriers broken

imaginable levels with the sounds moving around the environ-

pied with playing drums and recording. In the com-

down between the engineer and the artist.

ment. In these instances, yet another aspect could be expanded

ing months, he is working on new records involving

upon with any recording in which he takes part.

Brian Jones, Tim Barry, Miramar, Bio Ritmo, the Hot

wards a rawer sound. In this sense, there is a qual-

The magic of Koehler’s work isn’t limited to a station behind

helm, he won’t be slowing down anytime soon.

ity that is distinguishably Lance Koehler. Working

the boards. He also contributes musically on these records. He

In moments like these, he found himself leaning to-

Seats and several others. With these projects at his

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My formal exposure to the Richmond music scene came from the tongue of Jerry Springer. I have a distinct memory of the way that “GWAR” rolled off the man’s tongue as the otherworldly “Shock Rockers” graced his set and proceeded to have a surprisingly civil (as Youtube confirms) discussion about their stage act. I wasn’t exactly compelled to run out and buy up their discography, but I was drawn to their mythos and relative calm in the face of the generally revolting El Duce of The Mentors. From this broadcast, my image of Richmond as a city frothing with extreme metal and ostentatious stage shows planted itself firmly in my young teenage mind.

This image fermented for some time until the week after Christmas during my sophomore year of high school. I remember poring through the Kranky Records catalog that had arrived with my new copy of Lift Your Skinny Fists Like Antennas to Heaven by Canadian post-rockers Godspeed You Black Emperor! and taking a hard look at their first catalog entry; Labradford – Prazision . This quickly became my second peek into the “River City”. I was entranced by their mastery of ambient texture and their ability to create and manipulate sheer space in their recordings. Their instrumentation both flickered and ebbed in a sonic planetarium that was rivaled by few and revered by many. Maybe this was Richmond, a

collective of forward-thinking ambient enthusiasts working in a vacuum that influenced musicians the world over?

Even as I delved into such niche genres as math rock, I found Richmond groups such as Breadwinner at the fore, cited by many as the flashpoint of the movement and heralded for their innovative guitar work. I picked up Sparklehorse’s Vivadixiesubmarinetransmissionplo t, and read about their tours with Radiohead and Mark Linkous’s extensive collaborations, and became more and more enthralled with the characters that emerged from this former Confederate capital.

As with any grandiose teenage vision, mine slowly came apart upon entering my freshman year at VCU in 2002. Most of this was my fault, as I had dug myself into a relatively isolated musical hole in Martinsville, VA. There wasn’t a scene of sorts to be a part of, and any show experiences happened far, far out of town. I listened to punk rock, but I had never had any encounters with punks that weren’t fleeting exposures to the Seattle or European ilk. As my freshman year progressed, I felt like I had absorbed some odd alternate history that had only really existed in my mind. People I ran into were astonished that I had never heard of Avail and gave me baffled looks when I brought up Honor Role.

After ridding myself of previous delusions, I began to strike out into the area to educate myself on what exactly I had missed. My first experience with this came at the ever-shifting 929 (formerly Twisters, later the Nanci Raygun, Bagel Czar, etc.) to see Rilo Kiley, a band who I genuinely hated, but agreed to see as a favor to a friend. I got there just as the band You Are The Drum were setting up, and thus began my induction into the world of live, local music for Richmond. I remember the band polishing a trombone and a sampler/synthesizer and then launching into an absolutely fierce set that clearly outshone Rilo Kiley, (yeah, yeah, plenty of bias…) and thoroughly convinced me that despite my initial disappointment, there was certainly something to be found outside of my scrambled discography.

The only thing that haunts me to this day is how much of an amnesiac Richmond can be when it comes to the world outside of punk and metal. One the first things that No Way Records pressed was one of the original Honor Role 7”s from the early 80’s, which served as a respectful touchstone as well as a jumping-off point for some of the great records that the label later released. However, even though many of the Richmond bands I loved in high school may be revered by the rest of the underground, they’re more than likely to be left neglected by the city that spawned them.

The Toast of Richmond WRIR 97.3 FM richmond independent radio radio for the rest of us online at WRIR.ORG

L a b e l S ta n d o u ts Sup p r e s s io n, T h e Am o e b a M en, Tic kly Feather, T he Yes Sir s, Silver N inja s M o s t R e c e n t R e l e as e B e r m ud a Tr iang les - Giant Squid EP

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L a b el Sta n d o u ts C a nna bis C or ps e , C ity of Ships, L or d B y F ir e , B at t lemas t er M o st r ec en t r el eas e Juic e Ty m e – s / t 7 ”

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L a b el Sta n d o u ts G ov e r nm ent War ning, Cloak / D a g ger, Wasted Time, D ee p Sle e p M o st r e c e n t r e l e as e G ov e r nm ent War ning – Par anoid Mess LP (Co-r eleased by N o Way Reco r d s)

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L a b el Sta n d o u ts F O O D, H ex Ma c hine , T ige r s ha r k , G ull M o st r ec en t r el eas e L ita ny for the W ha le - Dolor es (C o- r e le a s e d by T he Per pet ual M otion Ma c hine )

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La b e l S ta n d o u t s G ov e r nm e nt Wa r ning, D ir e c t C o nt r o l, H je r t e st o p, Wa r k r im e , C hr o nic Se iz ur e M o s t r e c e n t r e l e as e I NSO M N I O - Ha ppy Loneliness L P

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L a b e l S ta n d o u t s Tuls a D r o ne , T he Cat alys t , Cit y o f Ship s, Ancient Sk y, Sweat Lo d ge M o s t r e c en t r el eas e L it a ny fo r t he Whale D o lo r es (Co -r eleas ed by M o l So o k Reco r d s )

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La b e l S ta n d o u t s I s is, To r c he , P g. 9 9 , C a nna b is C o r p s e , P ig D es t r oye r, U lt r a D o lp hins M o s t r e c e n t R e l e as e D ia l - s / t C d e p

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L a b el Sta n d o u t s B r a inwo r ms, Ant ler s, Pink R az o r s, T he Cat alys t , M o ut hb r eat her, Snac k t r uc k M o st R ec en t R el eas e B r a inw o r ms II: Swear to me

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L a b el Sta n d o u t s Ano us heh K hal ili, D avid Shultz and the Sk y line, M er maid Sk elet o ns, H o memade Kni v es M o st r ec en t r el eas e Jo nat han Vas s ar – T he Hour s & the Days

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