Posts Tagged ‘Virginia’

Gold Connections’ debut EP was home-recorded in the spring of 2014 in Williamsburg, VA, and features production, engineering, and mixing by Will Toledo (Car Seat Headrest). It is comprised of the band’s five best, earliest original songs written by Marsh while he was an undergrad of the College of William & Mary in Virginia. It was there that Marsh met Toledo; Marsh a freshman, Toledo a sophomore. The fated meeting is recounted below in the words of Toledo and Marsh themselves. Though Toledo won’t be a member going forward, he also plays drums, electric guitar, bass, and backing vocals throughout the EP. Fat Possum will release Gold Connections’ debut album later this year.

Will Toledo:
“When Will Marsh strolled into his first WCWM meeting with his solo EP tucked under his sleeve, like I had done the year before, I knew I’d found a worthy competitor. I asked him to play guitar in Car Seat Headrest. He deigned to for a time, then told me to eat a peach, and formed Gold Connections instead. I walked in on their first practice and started playing drums. He told me I could play with them at the show, then stole Car Seat Headrest’s drummer, who moved away, so I came back and drummed with them again. I also recorded an album for them. I thought it was good but Will didn’t like it, so I started working on songs with rock riffs like Gold Connections did that I could play on my own, and eventually put them on my album ‘Teens of Denial.’ Two years later, I phoned his manager and pleaded for Will to release the master tapes to the college album. Instead he suggested I remix the best tracks for a debut Gold Connections EP, so I did. This time he liked them, I think.”

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Will Marsh:
“I was that kid with the EP in hand. My slick studio exposé in folk rock was placed on A-list rotation, chafing against the newest lo-fi relic by sophomore Will Toledo. I met him weeks later at a show. My solo act was harmonica and acoustic guitar, troubled fingerpicking, original tunes and Dylan covers. Then a rock band hauled their gear on stage. That night they asked me to play rhythm guitar for one show, and I agreed to go electric. What they pitched as a “collective” was actually Car Seat Headrest. I had been duped. Will and I soon recognized that I was both too wild for rhythm guitar––judging by the icy side-glances on stage––and equally stubborn as a songwriter. I had to take my newfound ruckus somewhere else, so I formed Gold Connections. I don’t remember stealing a drummer…at least none with any strong allegiance to Car Seat Headrest. When he left town I handed Will the sticks. But he didn’t just drum: Toledo was determined to produce the project. Why settle for your own campus band when you could rule all two? We tracked during finals in my moldy basement, and by mid-summer Will proclaimed the mixes ready for public consumption. Yet take note of the complications. I wanted to sound more like the Stones than Guided By Voices. My new drummer who wished to play so bad moved to Seattle. I had a taste of the peach. Going into my last fall semester, William and Mary’s library was far more promising than its rock scene. A year later, when I graduated and fell out of the academic illusion, I got back to my first dream. And yes, I dig the new mixes! Are you happy now, Will?”

Music and lyrics by Will Marsh
Produced, Engineered and Mixed by Will Toledo
Recorded at 504 South Boundary Street, Williamsburg, VA

Will Marsh: Lead Vocals, Electric Guitar, Acoustic Guitar
Gabriel Hunter-Chang: Rhythm Guitar
Stephen Axeman: Bass
Will Toledo: Drums, Electric Guitar, Bass, Backing Vocals
Alaric Powell: Synth (Isabel, New Religion)

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Virginia singer-songwriter Lucy Dacus’s No Burden is astounding for two reasons. First off, this is the young artist’s debut album, but it is surprisingly genuine and mature. Second, she reimagines the indie folk and rock scene because she does not fall victim to the one-dimensional melancholic trope and rather opts for a frank and beautiful style. With her warm, dreamy voice, Dacus has an artful swagger and constructs wry and acute observations about her experiences. Accompanied by her mesmerizing guitar, Lucy Dacus bravely traverses and articulates the inner workings of her self in songs like “I Don’t Wanna Be Funny Anymore” and “Map on a Wall.”

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A self-described restless soul, Dacus is on a quest of endurance, “how to survive the bendin’ and breakin’.” With a breezy attitude, Dacus’ drops the “g’s” from “-ing” verbs in a charming manner, but she still maintains a modern elegance. All the while, No Burden has a tinge of optimism and hope, making it a gorgeous and insightful work.

Such a great voice, great songs. The album starts with more upbeat numbers but what makes the album so great are the ballads and lower-key songs

 

To be clear, Lucy Dacus’ No Burden was originally released by the small Richmond, Virginia-based label Egghunt earlier this year, and was just reissued by venerable indie Matador following much critical acclaim and a few successful cross-country tours. The extra push is nice, but Lucy Dacus’ songs possess enough timeless vigor that it’s tough to imagine them having been kept a secret for long. You will appreciate the quality of Lucy Dacus’ confessional songwriting, culled from acute observation and sleek homage to a universal truth on this sleek debut.

Lucy Dacus is a witty Singer Songwriter whose solo tunes have evolved into twangy indie rock slow-burners with help from the rest of her talented quintet. She began writing mostly for herself, but met up with like-minded players in her hometown of Richmond, Virginia who helped flesh out and grow her skeletal demos. Dacus is a soft-spoken, in-the-moment kind of player whose lyrics are open-ended but biographical. She possesses an acute observational focus, one that gifts her with the ability to tell stories that resonate with thoughtful universal truth.

Watch the full band performance of the session and fall into her poignant tales here on Audiotree Live.

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Band Members
Lucy Dacus – Vocals and Guitar
Noma Illmensee – Bass and Backing Vocals
Jacob Blizzard – Guitar
Tristan Fisher – Guitar and Backing Vocal
Miles Huffman – Drums

Lucy Dacus performs on Audiotree Live, March 28, 2016.

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It’s fair to say it’s been a pretty spectacular year for Richmond, Virginia based singer Lucy Dacus. What started with a self-release of her debut album, No Burden, has now seen her sign a deal with Matador Records, headline a show at SXSW and tour the world with some of the biggest names in the current alternative scene.

All of which would seem very lucky, if it wasn’t for the fact that No Burden is a stunning record. Few songwriters are capable of going from the brash, over-driven stomp of I Don’t Wanna Be Funny Anymore, to the heartbreakingly, beautiful, Map On A Wall. No Burden tackles a wide range of topics, her adoption at a very young age, not allowing yourself to be Pigeonholed as a “female” songwriter, and not feeling deserving of the praise coming her way, on Map On A Wall she sings, “so far my life’s one long lucky streak, they say you should take the credit when it comes” they’re right and as a lot of it seems to be coming her way lately, Lucy might just have to get used to it.

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all songs written and sung by Lucy Dacus
engineered and mixed by Collin Pastore
produced by Lucy Dacus, Jacob Blizard, and Collin Pastore
drums by Hayden Cotcher
bass by Christine Moad
guitar by Jacob Blizard

Lucy Dacus

Lucy Dacus For Fans Of: Eleanor Friedberger, Wye Oak, Sebadoh’s “Rebound”

Why You Should Pay Attention: Richmond-based Lucy Dacus has a knack for writing disarmingly open indie rock songs, with plainspoken lyrics that hit even harder thanks to her soft, sturdy alto. Her debut No Burden, which comes out February 26th, was recorded in Nashville over the course of a single day. Dacus’s voice is surrounded by gently churning guitars with forays into dreampop (the fuzzed-out ending to the sturdy “Dreamtime”) and stark acoustic tracks (“Trust,” one of Dacus’s earliest songs).

She Says: “Usually I’ll just be walking from my house to somewhere else, and melodies and words will start coming up, and I’ll have to run home to write it all down. I have a huge note on my phone where things just start popping up. It doesn’t make that much sense to me at the time, but once a song is finished, I can read into it and figure out who the characters are in my life. Hopefully when you listen to a song, you can say, ‘That’s me,’ or ‘That’s someone I know’ — you relate to it in a way that’s cathartic.”

Hear for Yourself: “I Don’t Wanna Be Funny Anymore” is a pitch-perfect portrait of a woman feeling boxed in by the way her peers view her, with Dacus’ thoughts about potential personas grounded by a steady chug.

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This fabulous radio broadcast comes from The King’s Head Inn, a tiny venue popular with students near the Old Dominion University campus, in Norfolk, Virginia, that could accommodate barely 100 people. Luckily, local radio station WNOR was on hand to preserve this storming performance made on July 20th 1980 by soon-to-become-legendary Blues guitarist Stevie Ray Vaughan. It was following a groundbreaking appearance at the 1982 Montreux Jazz Festival that Steve Ray first came to the attention of such major rock stars as David Bowie (with whom he recorded the Let s Dance album), The Rolling Stones and Jackson Browne. He went on to spearhead the 1980 s Blues revival and recorded an acclaimed series of albums for Epic Records, beginning with Texas Flood in 1983. Tragically, Stevie s career was cut short when he was killed in a helicopter crash in August 1990. At the time of this performance, however, Stevie had yet to release any records under his own name.

What he did have, though, was a rock-solid grounding as a live performer, having formed his first band, The Chantones, fifteen years earlier in Dallas, Texas, at the tender age of 10! Notably, the groups debut gig included a version of Jimmy Reed s blues standard Baby What You Want Me To Do. Up until the late 1970’s, in Dallas – and later Austin Stevie Ray honed his chops with a series of local acts including Cast of Thousands, Blackbird, Krackerjack and Marc Benno and the Nightcrawlers. In the later 1970’s he appeared on three 7 singles (Other Days, My Song and Blow, Joe, Blow) with popular Austin band, Paul Ray and the Cobras. During occasional absences by Paul, it would be Stevie who stepped up to deputise on vocals and guitar. Soon Stevie decided to quit – Paul took it philosophically, and told him: you re a front man now. You don’t need to be in somebody else’s band . Soon SRV had formed his own five-piece, Double Trouble (named after the Otis Rush song). By the time of this recording the group had been whittled down to a power trio with Stevie Ray on guitar and vocals, bassist Jackie Newhouse and drummer Chris Layton, who was recruited in September 1978. Although Stevie Ray Vaughan would become a prolific song writer, this evening s set includes just two of his own compositions, I’m Cryin’ and Love Struck Baby. Both of these songs would subsequently appear on his first album, Texas Flood which was released in 1983; the latter song was also issued as a single that same year. The other songs in the set are drawn from the catalogues of Stevie s blues heroes. Opening proceedings is a fine version of Freddie King s perennial Hideaway. There are two numbers originally written by Howlin’ Wolf (Chester Burnett) – Love Me Darlin’ and I m Leaving You (Commit A Crime) – and tipping his Stetson to Jimi Hendrix are versions of the master’s own Little Wing and Driving South, a song popularised by Hendrix but actually written by Curtis Knight. Completing a stonking set are Robert Geddins Tin Pan Alley and, of course, Larry Davis and Joseph Wade Scott’s 1958 Blues classic, which also provided the title of his debut, Texas Flood.

Eternal Summers’ fourth album, “Gold And Stone”, is out today, and in anticipation of the release they’ve shared a video for the title track. It’s a subdued, black-and-white clip that occasionally features bursts of color that flicker in, covering one of the figures, before rescinding back to the two-tone palette. The song is the same windswept loveliness we’ve come to expect from the Virginia dream-pop trio; all sweeping, chiming guitar lacework and Nicole Yun’s effervescent vocals. Watch the Wade Vanover-directed clip, “Gold and Stone” is Eternal Summers burrow deeper into feedback-drenched guitars and just-sweet-enough vocals, displaying a newfound urgency”

 

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Most garage rock bands sound loud play fast but the Young Sinclairs from Roanoke Virginia are more 60’s influenced jangly guitar pop with harmonised vocals and early stirring of psychedelica. Sam Lunsford writes most of the bands songs and takes vocal lead with multi instrumentalists Daniel Cundiff and Sean Micheal, John Thompson and Jonathan Woods completing the band line up. Ample Play Records recently released a compilation of the band recordings

 

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Acoustic Rock, Alternative Folk band The Last Bison a seven member band with a new album out now, the band from Chesapeake in Virginia the new song “Bad Company” is all about booming reed organs and cinematic strings