Tag Archives: Eric Slick

2017 in Review: RVA

2017 was fucked up in a truly barf-inducing cornucopia of ways, but I can point to one way in which it was unreasonably generous — how many of this city’s talented and creative musicians I had the opportunity to meet and interview. It’s an honor to experience so directly the warmth and kindness of this city’s creators. These conversations mean the world to me, and each one makes me want to redouble my efforts and get the word out about the amazing things this city’s musicians are capable of.

Speaking of what #rvamusic is capable of, here’s my list of favorite Richmond albums, with quotes from the folks I chatted with. To those people and everyone else on this list: Thank you for giving me the gift of inspiration throughout a truly messed up year.

Afro-Zen Allstars — Greatest Hits

From my River City Magazine interview with Afro-Zen bandleader George M. Lowe:

“I do this stuff to increase the amount of joy in the world. Nothing brings people together quite like music does, and being exposed to the musical culture of some other place can result in understanding more and grasping the fact that people are much more alike than they are different.”

Afro-Zen All Stars — “Cha Cha” [Bandcamp]

Saw Black — Azalea Days

So you know how Spotify spits out stats at the end of the year? My top songs were all from Moana or the Trolls movie, because I’m no longer the boss of my own car stereo. Also the Monster Mash. Halloween never really ended, as far as my daughter is concerned. The first real song on my Spotify list was “Rosie’s Comin Home.” A true crossover hit — dad and daughter singing along in the car to something not voiced by an animated character. Thank you, Saw Black. There are only so many times you can listen to the Monster Mash before you start unraveling. Yes, that was a mummy pun. I really need a break from the Monster Mash. By the way, what other song requires “the” before its title and therefore looks prohibitively strange inside quotation marks? I’ve gone back and forth about how to punctuate this paragraph for longer than I’d like to admit.

Saw Black — “Rosie’s Comin Home” [Spotify/iTunes]

Butcher Brown — Live at Vagabond

RVA Magazine was kind enough to let me review this one. Here’s a snippet:

Live at Vagabond captures both the energy of the crowd and the virtuosity of individual instrumentalists with remarkable clarity, giving listeners a taste of Devonne Harris’ compositional gifts, his adventurous approach to keys, and the ensemble’s knack for seizing the moment.

Butcher Brown — “Tunnelvision” [Spotify/iTunes]

Camp Howard — Juice

The title track is a true jam. I heard the band say they approached the instrumental work on “Juice” like they might have if they were using sampled sounds. It’s a neat thought experiment, and it resulted in a really great tune.

Camp Howard — “Juice” [Spotify/iTunes]

Dazeases — Local Slut

From my RVA Magazine interview with Dazeases:

Nevertheless, her performance style is self-made and singular. She prefers low lighting; just the night before, at a show in Charlottesville, she improvised her own ambiance using lamps she found at the venue. “Any photos — if you see a lamp on a chair, that was me.” And she described an approach to organizing set lists that involves front-loading upbeat material. “It’s really cool to watch that tone change or make that tone change happen,” she said. “I usually do an emotional slope in my sets, so it’ll start out as positive as I get for my music — it’s not really positive or happy by nature — and then just drag it down. Down, down, down. Like, unrelenting.”

Dazeases — “Laurel” [Spotify/YouTube]

DJ Harrison — Hazymoods

RVA Magazine let me review this one as well. It truly is an honor to document Devonne Harris’ brilliance as it unfolds. Here’s a section of that review:

Newcomers to the respected RVA collaborator’s solo work will get a sense for his keen ear — how he can blend disparate sounds, often from his own storied output as a producer and multi-instrumentalist, and make a cohesive musical moment.

DJ Harrison — “ProcessFresh” [Spotify/Bandcamp]

Thorp Jenson — Odessa

Another one RVA Magazine let me blurb:

It plays like an expertly crafted survey of styles from the last 60 years, from Stones riffs and heartland rock to country waltzing and soul not unlike Matthew E. White’s. Well-worn and world-class, right out of the gate.

Thorp Jenson — “Odessa” [Spotify/iTunes]

Sid Kingsley — Good Way Home

I was also fortunate enough to interview Sid Kingsley this year. What a brilliant, friendly, and humble person. If I were to assign a Revelation of the Year, it would be Kingsley’s voice. Arresting in the best way imaginable.

People assume that I’m influenced, and I’m trying to emulate some of these [singers]. Singing is totally a newer thing for me. It’s even newer than the piano, because I was definitely just playing piano and not singing at all. Super-bashful about it. I haven’t tried to emulate anyone vocally. Saxophone – I used to try to emulate Charlie Parker, Joshua Redman. But with my voice, I just sing. This is what I sound like.

Sid Kingsley — “Sam Stone” [Spotify/iTunes]

Minor Poet — And How!

I’ve written a bunch about And How!, and Andrew Carter was kind enough to call an article I wrote the definitive retelling of how the album took shape. Here’s a link — hopefully it gives you a sense of Carter’s love for the recording process. It was a truly inspiring conversation.

That curiosity led to years of experimenting with the recording process, and if there’s one thing And How! makes perfectly clear, it’s that Andrew Carter loves to record. You can hear it in the album’s opening moments — his knack for molding off-kilter sounds by manipulating sub-par equipment. “[In] that first song, ‘Plot Devices,’ there’s that weird, lo-fi stringy sound. It’s this little toy Casio run through a shit-ton of weird effects. That was part of the fun of making it. ‘What cool sound can I make that doesn’t exist?’”

Minor Poet — “River Days” [Spotify/Bandcamp]

Opin — Opin

I find myself coming back to this record time and again, finding new reasons to love it. There’s one constant, though, and that’s “Lift Canal,” which is at or near the top of the Best Songs of 2017 list I’m too overwhelmed to make. Speaking of overwhelm, “Lift Canal” has been there for me in some tough moments this year. Very thankful it exists.

Opin — “Get Home” [Spotify/iTunes]

Positive No — Partners in the Wild

The first tape I bought after being gifted a cassette player for Christmas. So begins a new era of jamming out in the car. Exceedingly psyched about this development.

Positive No — “Y.A.A.Y.Y.” [Spotify/iTunes]

Skinny-E — Brown Paper Bag

From the post I wrote after seeing Evan McKeel perform at In Your Ear studios late last year:

His set at In Your Ear was short, but he needed only sing a few lines for me to hear what millions of fans of The Voice had already heard — a truly incredible singing voice, able to ascend with ease and smokier than his years, with a natural distortion that provides texture and complements his precision. When I thought about the literal and figurative stage that he’d occupied on TV, sitting in that studio listening to him seemed like such a gift. It quickly sank in that he could sing pretty much any song he wanted to, which begs the question: What do you do when you can do anything?

Skinny-E — “Love Again” [Spotify/iTunes]

Eric Slick — Palisades

What a joy it was to speak with Eric Slick over the phone for this River City Magazine article and then shake his hand at the Richmond Symphony’s RVA Live! night. Two quick tangents: Did you know he hosts a truly awesome podcast called the Strange America Radio Half Hour? Or that his other band Lithuania (remember, he’s also the drummer for Dr. Dog) just released an album? Dude never stops. A few words about Palisades:

“These songs were birthed out of learning how to meditate. I started meditating and my creative life began, outside of drumming. So, it’s all still really new to me, and I’m still navigating how to be at the front of a stage, and how to be a performer. I feel like I’m juggling when I’m up there, but it’s really challenging and exciting and it’s a necessary part of my creative process. When I do go back to the drums now, I have this whole other perspective on how to play drums.”

Eric Slick — “You Are Not Your Mind” [Spotify/Bandcamp]

J. Roddy Walston & The Business — Destroyers of the Soft Life

Being the first to snag a copy of Destroyers of the Soft Life at Plan 9 was exceedingly rewarding, as evidenced by the test pressing pictured above. Digging into the liner notes in my companion copy was rewarding as well, as finding out that Michael York of Sleepwalkers played on “The Wanting” turned a song I already loved into a multifaceted celebration.

J. Roddy Walston & The Business — “The Wanting” [Spotify/iTunes]

Matthew E. White & Flo Morrissey — Gentlewoman, Ruby Man

White and Morrissey played four cities in support of Gentlewoman, Ruby Man: Paris, London, New York, and Richmond, Virginia. Their show at the Broadberry kicked off the tour, and I feel very lucky to have been there to see it. An all-star Spacebomb backing band, including Devonne Harris. A set of stunningly rendered cover tunes. I was especially thrilled to hear their take on Leonard Cohen’s legendary “Suzanne.”

Matthew E. White & Flo Morrissey — “Suzanne” (Leonard Cohen cover) [Spotify/iTunes]

More 2017 in Review:

2017 in Review: Live Albums
2017 in Review: Blasts from the Past
2017 in Review: Americana
2017 in Review: 25 Favorites


Filed under #features

Eric Slick

Getting to interview a musician who made one of your favorite albums of the year is quite an honor, but getting to interview a musician whose music changed your life for the better? That’s something else entirely. Something rare and special.

Hearing “You Are Not Your Mind,” from Eric Slick’s 2017 Palisades album, was a truly revelatory experience. I ended up writing about it back in April:

I often fall into the trap of assuming there’s a way to think my way out of every situation. I also tend to prioritize my inner experience when I’m feeling less than good about what’s going on on the outside, whether that’s the clothes I’m wearing or my inability to force myself to exhibit extroversion when it counts. And while the mind can certainly act as a refuge, I love the idea that there’s some other self that’s even more basic — something that’s not so readily accessible or easily tinkered with.

With that in mind (no pun intended), it was such a gift to be able to speak with Slick over the phone and learn more about how that song was written, how he balances the brightness of his personality with the heft of this songs’ themes, and how he came to be part of this beautiful Richmond music community. The interview just went up on Richmond Navigator’s site — click here to check it out. (Print copies of River City Magazine should be on newsstands any day now.)

I want to thank Eric very sincerely for doing the interview, and I want to encourage you good people to take a listen to “You Are Not Your Mind” below. Maybe you’ll end up with a revelatory experience of your own.

Eric Slick — “You Are Not Your Mind” [Spotify/Bandcamp]

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One-Line Enlightenment

Are you in the market for some fact-acting self-knowledge and/or spiritual fulfillment? Might I suggest one line each from these three newish songs?

JR JR — “Same Dark Places”

One-Line Enlightenment: “I know everybody goes to the same dark places”

It’s easy to feel alone and isolated when you’re suffering in some way, but there’s a really good chance that people — maybe even people you know — have gone through or are currently going through something similar. “Same Dark Places,” which was accompanied by a touching message about the song’s origins, does a wonderful job of shining a bright, compassionate light on those shadowy emotional spaces.

Future Islands — “Through The Roses”

One-Line Enlightenment: “It’s not easy just being human”

Speaking of compassion, when you approach interpersonal communication with a basic level of empathy — “This person I’m talking to has the same basic wants and needs as me and could be dealing with difficulties that aren’t immediately apparent, etc.” — it’s amazing how much easier it is to defuse charged situations and find positive outcomes. This line from the new Future Islands album reminds me of this in such a simple and powerful way. The video above ain’t great, but the message comes through loud and clear.

Eric Slick — “You Are Not Your Mind”

One-Line Enlightenment: “You are not your mind”

I often fall into the trap of assuming there’s a way to think my way out of every situation. I also tend to prioritize my inner experience when I’m feeling less than good about what’s going on on the outside, whether that’s the clothes I’m wearing or my inability to force myself to exhibit extroversion when it counts. And while the mind can certainly act as a refuge, I love the idea that there’s some other self that’s even more basic — something that’s not so readily accessible or easily tinkered with. I’ve read that meditation was a big part of the inspiration behind Eric Slick’s new Palisades album, so I’m sure he has a more precise idea of what this lyric is getting at, but just hearing it gives me this tremendous sense of relief, like walking away from an elaborate array of spinning plates.

To bring things full circle, here’s a video of Eric Slick speaking very articulately about the need for open discussion of mental health.

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EggHunt Records


Every once in a while, I look around and say to myself “Damn, EggHunt Records has a lot of awesome stuff going on…” Now is an excellent example, and I think it’s time for another installment of the feature I’m unofficially naming “Damn, EggHunt Records has a lot of awesome stuff going on…”

Here’s a link to the first EggHunt catch-up post if you’re curious, and here’s an all new one, featuring three exciting projects:



It really sunk in while I was listening to “Flee” for the first time that Landis Wine’s voice is Richmond to me, in the same way that the Boulevard is, or the river, or Bev’s. And it’s comforting knowing that if I ever moved away, I could still put on a White Laces album and feel the sense of place that I feel now. I’m excited to see him start a new chapter with Tori Hovater as Opin, and “Flee” leaves a great first impression. I’m especially fond of the build that ushers in the last minute of the song. Really neat.

Opin — “Flee” [Soundcloud]



Speaking of distinctive Richmond voices, Dazeases’ has to be the most exciting new voice coming out of this city’s music scene. I’ve been digging into her catalog on Bandcamp, and I can’t recommend doing so highly enough. Her approach to production, vocals, performance… everything is entirely her own, and “Plum” promises continued inventiveness and gravity on her upcoming album, Local Slut, which will be released via EggHunt’s snazzy Hatched subscription series.

Dazeases — “Plum” [Spotify/Soundcloud]

Eric Slick


I’m not the best with time signatures. Does “You Became The Light” shift from 6/4 in the verse to waltz time in the chorus? Or is it 12/8? Are those relatively arbitrary designations? I don’t know enough to answer any of those questions. I’m just going to say that whatever Eric Slick (drummer for Dr. Dog) is doing here, I really like it. A verse that keeps you on your toes and a chorus that soothes for a few short moments before hurling you back into the madness… sign me up.

Eric Slick — “You Became The Light” [Spotify/iTunes]


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