The Trillions

(Editor’s Note: This past Saturday was such a great day for music that I’ve split up my reaction into three posts. Check out the second one below, and click here if you missed the first.)

Because of the shindig I mentioned yesterday, I wasn’t sure if I could make it to Saturday night’s Trillions CD release show at Gallery 5. And by the time I got there, I was pretty tuckered out and had already missed Kid Is Qual’s set (more on these fine folks to come in a future post). I definitely needed a pick-me-up, and having recently gone cold turkey on Red Bull certainly wasn’t working in my favor. But I’ll tell you two things that were working in my favor: Worthless Junk labelmates Black Girls occupying the second opening slot and the Trillions kicking ass/taking names.

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The Diamond Center

California

Isn’t the success that’s couched in abject failure the sweetest? Allow me to provide an illustration.

A week ago, I headed to Strange Matter for the sold out Real Estate show. Moments after I walked in the door, I caught a glimpse of a magic marker-scrawled schedule that was sitting on the desk of the ticket-taking station. The whole shindig was exactly 1 hour behind the advertised start. The Diamond Center at 9. Twerps at 10. Real Estate at 11. Normally, I don’t put too much stock in concerts starting on time, but I had to be up at an ungodly hour Friday morning and was beset by an uncharacteristic and unwelcome wave of prudence. Gross. But the Diamond Center put on such a fantastic display in the first opening slot that I completely forgot about my accursed curfew for a while, and I left Strange Matter with the unmistakable feeling that I’d gotten my money’s worth — and then some — even though I didn’t experience a single note of the headlining set.

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Queen

“Every day becomes better when listening to Queen.”

This quotation was culled from a tweet posted by the esteemed proprietor of Richmond Playlist, and I have to say that truer words were never spoken. When is the last time you heard a Queen song without your mood improving? I mean seriously, whose day was ever ruined by “Don’t Stop Me Now” or “Under Pressure“? And don’t get me started on “Fat Bottomed Girls,” a song that’s so awesome I had a hard time believing it was real the first time I heard it. Well just yesterday, a friend sent me a link to videographic evidence that conclusively proves this assertion beyond a shadow of a doubt. In the above clip, a drunk Canadian man sits in the back of a Royal Mounted Canadian Police car, having been arrested for, well, being drunk. But does he take that shit lying down? Hell no. He dusts off his vocal chords and performs “Bohemian Rhapsody” IN ITS ENTIRETY. Take that Mounties! This brave performer (who looks like the illegitimate love-child of Jim James of My Morning Jacket and Patterson Hood of the Drive-By Truckers) clearly comes out the better man in this scenario and most certainly has some serious Internet stardom coming his way. The moral of the story? Queen makes everything better. So try not to get arrested this weekend, but if you do end up in the back of a cop car, you know what to do.

Queen — “Bohemian Rhapsody

Dana Buoy

Summer Bodies

You know what’s fun? Getting a sneak preview of something. There’s nothing like mixing exclusivity with instant gratification. Simply deee-vine. In just a second, I’m going to pass along a not-so-sneaky trick for getting your grubby paws on new tunes before they’re released, one that doesn’t involve going around the artist’s back and finding an involuntarily leaked copy.

Here’s the totally above-board trick… if it’s feasible, go see the band whose album you’re salivating over. Not only will you probably hear how the new material sounds live, you may even walk away with the album in hand. This happened late last year at the RVA Music Festival, when the Trillions were selling advance copies of their new album (which is fantastic), and it happened again his past Saturday night when I saw Dana Buoy open for Youth Lagoon at the Rock and Roll Hotel in Washington D.C. During his set, Buoy proprietor Dana Janssen, who is also the percussionist for a group called Akron/Family, announced that even though his debut solo album Summer Bodies isn’t out yet (it won’t be until May 8), advance copies were available for purchase at the merch table.

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Black Girls

So last Wednesday’s show at the National was quite the hootenanny. I already wrote about how much I enjoyed the outstanding headlining act, the Head and the Heart, but I have to say a few words about the fine work done by Black Girls in their opening set. There’s nothing like catching one of your favorite bands on the perfect night. Homecoming shows are always special, but this was the RVA group’s first stop in town after their most packed string of dates yet, having spent March on a trans-American/Canadian tour with the above mentioned, Seattle-based headliner. The atmosphere on Wednesday was appropriately celebratory, and Black Girls’ music fed off the welcome-home-y energy throughout, sounding equal parts powerful and joyful. And it wasn’t just who started off the evening but what as well, given that having “South Carolina” at the very top of a setlist is akin to waking up in the morning and immediately downing one of those giant Red Bulls that only truckers and people who sell Red Bull to truckers drink. From these first few moments until the closing notes of “Broadway,” the band channeled all the energy in the room into what may have been the best performance I’ve seen them give. You often hear about how busy concert schedules like the one they had in March render a band tighter or more polished, and this is undoubtedly the case for Black Girls, as well. But two of the band’s greatest strengths are a loose, confident swagger and a willingness to take chances, and the road seems to have, somewhat paradoxically, nurtured these qualities as well. As precise as each member’s performance was, it seemed like I was also hearing some additional layers and stylistic flourishes that I hadn’t before. Gillihan’s vocal improvisation was as far-reaching and captivating as I’d ever heard it, and the use of synth felt bolder and more emphatic than I remembered, shining a light on an aspect of their recently released album Hell Dragon that I absolutely loved. As a side note, this post doubles as an official, 5-alarm, all-hands-on-deck Merch Alert. I snagged the above pictured t-shirt just a few minutes after they concluded “Broadway,” and I was not the only one clamoring for one. I suggest grabbing yours at the earliest opportunity, as they appear to be too fly to last long. And even though iTunes technically has an infinite number of Hell Dragon downloads left in stock, I encourage springing into action on that front as well, given how great the album is. Get a taste of the #snuffrock awaiting therein by previewing “Broadway” and “St. Simons” below.

Black Girls — “Broadway” [Spotify/iTunes]

Black Girls — “St. Simons” [Spotify/iTunes]

The Head and the Heart

My introduction to the Head and the Heart came courtesy of an RVA Magazine interview with drummer Tyler Williams, who took a leap of faith a few years back by moving from Richmond to Seattle to join the group. He did so at the suggestion of another former Richmond resident, Jonathan Russell, who is half of the band’s founding partnership (he also happens to be a former high school friend of Williams’). File what I’m about to say under “Small and Mostly Meaningless Coincidences,” but I read this article in the midst of my own westward journey, aboard my very first cross-continental flight, bound for Portland. As tenuous as that connection may have been, I was pretty damn excited to see what the west coast was like, and reading about these fine Virginia gents heading west made me feel adventurous as well (so much so that I bought the 7-inch single of “Down In The Valley” while in Portland, even though I had no idea what it sounded like).

Reliving that adventurousness is one reason I was so excited about heading to the National this Wednesday evening to see the Head and the Heart in person (another reason being that Richmond’s outstanding Black Girls was one of the two opening acts — more to come on their performance in a separate post). And there was so much to love about the headlining set — singer and violin player Charity Rose Thielen’s impressive voice and magnetic personality won the crowd over completely, and Russell playing a solo acoustic tune to kick off the encore was a treat — but it was the last song of the night that best illustrated why I love the Head and the Heart so much.

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RVA Hot Sauce

I’ve mentioned this before, but when I started writing You Hear That, I had no idea how much amazing music is being made right here in Richmond, VA. During the course of the past year, I’ve been completely blown away by RVA’s homegrown tunes, and I owe a huge debt of gratitude to blogs like Richmond Playlist and Sounds of RVA for pointing me in all the right directions. And as inspired as I’ve been by outstanding groups like White Laces, Black Girls, Goldrush and The Trillions, there’s so much more to discover — especially when it comes to RVA hip hop. The Cheats Movement blog, which is a tremendous source for information about local rap artists (not to mention a seemingly bottomless well of positivity and enthusiasm), has helped me take a big step in that direction by posting the video above, which is the first in the series of clips that will document an event that took place on October 21, 2011 called RVA Hot Sauce. Much like the graffiti photos that got me hooked on Marc Cheatham’s blog several months ago, this video is a wake-up call as to the staggering amount of creativity flowing through this city, and I can’t wait to see the additional installments and hear more from performers like Black Liquid. Watch him and several other talented RVA folks in action in the video above (seeing Brian McDaniel from Dirty Richmond freestyle is particularly awesome), listen below to an older Black Liquid tune called “Life,” and keep an eye out for more RVA Hot Sauce videos down the road.

Black Liquid — “Life

Gnarls Barkley

The video above was sent to me by a lucky soul whose laudable sense of initiative has resulted in a trip from Richmond to Tampa, Florida for Radiohead’s show at the St. Pete Times Forum on Wednesday. It makes me so happy when I hear about people taking this type of trip. Whether it’s by plane, train, automobile or pimped-out Rascal, schlepping yourself that far to see a band is a beautiful thing, and it definitely gives the people around you a reason to see what all the fuss is about. In this case, she and I are already on the same page. As Joey Tribbiani might say, RADIOHEAD GOOOOD. We were also on the same page yesterday, when she showed me this 2008 video of Gnarls Barkley performing In Rainbows track “Reckoner,” which is to say that neither of us knew exactly what page to be on. There’s a lot to take in. I think the most alarming element of the cover has to be Cee Lo’s intensity, both in terms of the force with which he’s singing and the CRAZY-ASS STARE he exhibits. It’s kind of insane. But then again, shouldn’t every Radiohead song be sung as if you were completely bonkers? The paranoia, anger and confusion call for an off-kilter messenger… possibly someone who has a history of questioning his or her sanity… someone who has shown that he or she has no problem dismissing others’ behavior with extremely sharp language… someone who’s unsure about his or her own reckoning… clearly Cee Lo is just the man for the job! Watch the video of Gnarls Barkley’s cover of “Reckoner” above or listen to the audio below to see if you agree, and snag In Rainbows from iTunes here. And to any of you who are planning to schlep your bones across state lines to see a concert in the near or distant future — I salute you.

Gnarls Barkley — “Reckoner” (Radiohead cover)

Punch Brothers

Who's Feeling Young Now?

Every once in a while, I’ll be watching a drummer go to town during a rhythmically demanding section of a song, and I’ll say to myself, “That dude is an alien.” Certain drummers have that extra gear that makes it look like they’re working with more than two arms and two legs — how else could they be doing so much at once and/or making so much noise? Not so coincidentally, I described Battles’ John Stanier as “otherworldly” when I witnessed his handiwork at the 9:30 Club a few months back, and I’d be inclined to throw that same adjective at Wilco’s Glen Kotche, especially when it comes to his chaotic outbursts in “Via Chicago.”

So what the hell does this have to do with Punch Brothers?!? They don’t even have a drummer! 

I’m glad you asked! Chris Thile, the group’s frontman and mandolin player, is one of the few people outside the world of stick-wielding snare-strikers that produces that same super-specific, disbelieving reaction: “That dude is an alien.” And I’m not alone — Ed Helms from The Office has had the exact same thought.

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American Aquarium

Small Town Hymns

Are you ready to play a kickass game of connect the dots? Since today’s edition largely takes place in the south, we’ll call it, affectionately of course, co-redneck-t the dots. I really think you’re going to like what we find, so let’s get started with the fine gents of Raleigh, North Carolina-based American Aquarium, who, on Friday at the Jefferson Theater in Charlottesville, Virginia, country-rocked their way through an amazing set opening for Jason Isbell, who hails from northern Alabama, just like former Drive-By Truckers bandmate Patterson Hood, whose father, David Hood, was the bass player for the Muscle Shoals Rhythm Section (also known as “the Swampers” — ya know, “They’ve been known to pick a song or two”), the legendary band that recorded with some of music’s most recognizable names, like Aretha Franklin, the Rolling Stones, Paul Simon, John Prine and many, many more, all of whom, in order to record with the Swampers, had to to make pilgrimages to one of two studios in Muscle Shoals, Alabama, which is where American Aquarium just finished recording their new album, which was produced and recorded with the help of Jason Isbell, with additional contributions from the lovely Amanda Shires, Isbell’s girlfriend, who appeared on stage with both Isbell and American Aquarium last Friday night at the Jefferson Theater. Whew. Crazy, eh? And that run-on sentence doesn’t begin to cover how entertaining American Aquarium’s set was (a real-life love-at-first-listen experience) or the remarkable impact that Muscle Shoals has had on popular music. A few weeks back, I wrote about the idea of musical centers of energy, and Muscle Shoals most assuredly qualifies. Though the town’s population is just 13,000 or so, the area still has a tremendous amount of musical history. So many canonical musicians have been drawn to Muscle Shoals, and it’s wild to think about how the Swampers insisted on recording on their own turf. And Grammy wins for albums like the Black Keys’ Brothers go to show that the town maintains that gravitational pull to this day. Judging by the songs I heard at the Jefferson Theater, American Aquarium’s upcoming album is sure to be a hit as well, so to whet your appetite, I’m posting “Reidsville,” a song from their 2010 album Small Town Hymns that tells the story of a southern town with a very different legacy than that of Muscle Shoals. Listen below and snag  the album on iTunes here.

American Aquarium — “Reidsville