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Humorous Singer-Songwriter plays Folk that is both electric and eclectic. With airy vocals and Lo-Fi echo guitars, Brookman incorporates some psychedelic influences.
Snide, vindictive wit issued from a band that plays a slurred song simply. A sneer with a tambourine.
Running the stylistic gamut, Lee Harris and Chicken proffer off-the-cuff hijinx, '60s-inspired Rock and Roll, and noisy guitar assaults. It's all embellished with the vocalist's deadpan, near-spoken narratives.
Leon Milmore is actually a four-headed creature from Richmond, Virginia, (the band's name is taken from a combination of the member's names) that plays jangly, crusty Adult Alternative that's quite akin to the Dave Matthews band, who are also from Virginia. Jangly acoustic guitars, basses set on "funk," and slightly hoarse vocals.
With violin dominating the foreground and Funk grooves serving as a backdrop, this Virginia four-piece mixes Celtic rhythms and African grooves to produce signature hippie-Funk. Perfect for outdoor festivals.
: If every human was born with a built in soundtrack by which to get drunk, it would sound a lot like Citizens Band. These mobile home poets channel in the deep fried Country Rock ghosts through a satellite dish bigger than Texas. Their songs tend to swim in a sluggish and putrid mix of Shaeffer beer and Swanson's gravy. Good sloppy countrified grit.
Jig-inducing folk embolism of all things Anglo played by some hyper-active Virginians. Nothing like hearing a folk band break into a Zeppelin riff -- that one never gets old. At least they don't fake any accents.
Angst driven melodies and power guitars put these edgy songs in full throttle. In a time where many bands attempt to claw their way to the top of the Modern Rock, Closure end up in front, with personal lyrics taking emotional songs to their Grungy fullest.
Four high school buds-turned-Virginia Tech students rock the campus' jumping fraternity scene, whipping students into a modern rock frenzy with loud, guitar-driven party anthems.
Six-member crew from Virginia opens minds with live jazz-rap. Laid-back yet sophisticated, with positive flows from male and female emcees. Lots of non-traditional percussion, smooth organ grooves, organic bass, and mellow guitars.
Laurie McDonald plays pseudo Country Pop with a programmed rhythm section and cold anachronistic synthesizers that contrast with the warmth of her sweet voice and the six-string acoustic guitar. Her songwriting reveals that she's a natural who needs to find a backline of musicians who share her vision.
Hop into the Butt-Metal time machine and set a course. Chugging guitars; epic, layered vocals; and rock-steady 4/4 give it up for frilly victorian shirts, big hair, and spandex.
SUNNSHINE play Stoner Rock in the wake of Sabbath's slower, more hazy moments. But they don't play sloppy jams that lead nowhere; their heavy, anthemic sound stays tight to the groove.
Rocking Alt-Country and storytellin' Honky-Tonk from Virginia. Comfortably situated on the other side of the tracks, dirty guitars and agitated drumming light the campfire for tales of drinking and disaster.
Southern California denizens play a furious game of Chugga Chugga, which, if you haven't heard, is the game where loud, stomping power chords are played over gravelly, dark vocals. Everyone wins at Chugga Chugga.
With tremendous momentum, GROUSER move heavy guitar noise through energetic rhythms. Earnest vocals strain to be heard through the barrage of shifting noise.
MIDI rhythms bounce along and then get crushed under a steamroller of electric guitar. This song is an instrumental.
Calling Dr. Bombay play a relaxed blend of tuneful rock sung in deep vocal tone. Harmless pop about love, celebrities, and convenience store clerks.
Ultra Bait bleed glitter. Their female-fronted, smutty raunch-rock gushes Glam goo and make-up all over the stage. Sexy sextet comprises three girls and three guys--imagine if the Brady Kids were from Detroit and indulged in Jell-O wrestling on stage while sinister Rock 'n' Roll spewed from the speakers.
With a frenzied and unmelodic singer, there's a certain resemblance to MC5, but they forgo noise for a cleaner, more straight-ahead heavy rock sound a la mid-'70s AC/DC. (Think a more southern sounding "Whole Lotta Rosie.")
Dirtball may be "alternative" but their country harkens back to old truckstop ballads. Think of Johnny Cash and George Jones getting together to shuck corn and complain about life's hardships. Good guitar arrangements.
Liz Sineath's voice trembles and quivers, sending out notes that vibrate outward like ripples in a sonic pool. Sineath's delicate delivery -- her vocal vibrato seems so carefully pieced together that it could shatter if pulled too far in any one direction -- is backed by jangling guitars and head-bob-inducing drums.
Ominous Prog-Metal with Seattle-endorsed vocals and solid, thick production. Harmonies, sophisticated pummeling and intelligent, aggressive guitar thunder do this dance better than most.
Frantic craziness from Richmond, Va. featuring nervous, punky guitar work, nerdy, funk-infused grooves and an ecstatic horn section. Like Primus, but better.
Old-School American hardcore outfit on Grand Theft Audio Records' roster (along with comparable Thrash/Punk bands like Agnostic Front, Raw Power and Adrenalin O.D.). Re-experience the sounds and smells of the mosh pits of the 1980s by playing these songs for some of your beer-frenzied mates.
Inspired by the successful '70s soul and Acid Jazz blend popularized by Jamiroquai, Murfreesboro have taken the formula and altered it very little with just a few more horns thrown in for an even more robust sound.
If Fellini directed a Buster Keaton silent picture, this would be the perfect soundtrack. Insane circus/klezmer music featuring claviola, tuba, theremin, whistle, and much more.
Scholars from the old school of American pop, The Burnt Taters play through vintage gear and vintage souls. Their bouncy, bass-heavy Rockabilly is fused beautifully with crystalized harmonies.
Peculiarly-named Quick Like Bunnies bust out Meat Puppets-like rockers one moment and Sadcore ballads the next. SST would have signed 'em if they'd been around in 1985.
One-man band Surf Like Rednecks plays instrumental rock that while it owes something to surf rock as a concept, borrows liberally from indie, lo-fi, and punk, to create an instrumental sound that is a little farther reaching than the usual revivalists.
Very tight, very up. Full horn section, speedy bass lines, punk breaks and hand percussion
Four frat brothers get together to take a stab at making music. They dabble in Progressive rock, Heavy Metal and Disco. Thick guitars and vocals buried in effects give them an over-all muddy sound.
Virginia natives flirt with Classic Rock and tease out new songs in an updated, though familiar style. The lead singer's voice is as strong as moonshine on a Sunday morning, though it won't leave you shuddering quite as much.
I should confess that I am such a slave to the myth of Evel Knievel that I would have to love this band no matter how hard they sucked, based solely on their name. Luckily, I'm also a big fan of bar-band rock, which is secretly more sophisticated than it sounds, and that's what they play.
An approach to Surf music that leans more on modern upgrades than on the vintage approach. The music is standard for the genre-- melodic swirling guitar leading the way. Their updating involves soundbites and samples that randomly litter the body of the songs.
Groove-based Metal with a dry, sparse sound that's surprisingly refreshing. The drums sound almost hip-hop-like, while the singer opts for melodic singing over Rapcore.
Spacey and atmospheric, this acoustic rock is heavily influenced by Neil Young circa Stars and Bars. An extremely well done home recording gives it an unpretentious feel and the mid-tempo rolls along comfortably.
Sometimes the heady enthusiasm of youth inspires us to do things which, upon later consideration from the safe vantage point of maturity, we may deem foolish. The juvenile behind the pretentious lieder-style poetry of Spazure, performed in German, no doubt faces such a day of reckoning in his future.
Former GWAR guitarist leads Punk trio through anthemic Hardcore. Noteworthy hyper drumming and requisite shouted vocals abound.
Southern roots shine through in more than the country-tinged vocals. Their thick, swampy rock sound is pure Dixified Punk. They have the power of, as one of their songs suggests, a hurricane.
Six or more members signals either Ska band or Dave Matthews Band. 59h2o fall into the latter category, combining acoustic guitars and gliding vocals with various decorative tinkering.
Heady sonic configurations pinch elements from Ambient, Industrial, Jungle, Trance and Trip-Hop to offer up an eclectic electronic feast. Live duo arrange mismatched beats and breaks, muted vocal cuts and surging synths to bring a little thought to the club floor.
The Grand Dukes are an extremely appealing retro band that will please swingers, greasers and blues heads. It's like Fats Domino heading up Louis Jordan's band with B.B. King on guitar.
Heartfelt songs groove and slink in such a way that reminds one of sunny days, sitting on the grass, tossing frisbees, and smoking blunts. Emotive bluesy rock made up of muscular Southern Rock guitar, acoustic guitar rhythm, and harmonica honks.
This big and loud rock 'n' roll dropped straight out of the Virginia skies. These tracks feature huge choruses, a scarf-wearing swagger and much talk of sex and drugs. It's a pity the singer sounds like Adam Sandler doing Eddie Vedder.
These guys start out with churning, mid-tempo kill-metal and rev it up so fast, it sounds like the CD's skipping. A demon from Hell spews bile in a sub-sonic form of the Swedish language.
Solo anthematician Runelore practices True Virginian Black Art exclusively. Synth-dominated metal of epic proportions echoes the days of yore.
So much screaming. Are they chasing or being chased? Pained cries bounce against ferocious percussion. Guitars race and flail in all directions, a frenzied panic of pulverizing riffs.
Lush, rootsy instrumentation warms this outland outfit's songs. Americana numbers swim in wood-toned string picking, pastoral vocal harmonies, and songs that won't get out of your head. Fusing Page Wilson with Reckless Abandon is as compatible as mashed potatoes and gravy.
Three-chord Old-School rave-ups with requisite slapback vocal delay, a whirling dervish of happy power chords, and revved-up spirit. I hope you'll excuse me -- I now must pogo.
A lanky, hiccuping frontman wears western shirts and does his best to sound like Jon Spencer while some neo-billy hep-cats go through the motions. You know the drill: stand up bass thump, single snare drum, and someone yelling "Go, man, go!" before the solos.
Bongo-laden rhythms and chiming bells work as flowery accompaniment for Greenbaum's roots-soaked music. Her soulful vocals wrap themselves around lyrics about coffee.
Nursing Mothers compose sparse, bluesy and funk-ified rock highlighted by the singer's charming drawl and impressive range. Riffs tend to repeat endlessly and some of the playing is rudimentary, but they occasionally capture a spry, jazzy feel.
Virginians with a Detroit fixation, this group of miscreants plays pounding proto punk and raunchy trash that combines sneering vocals, Johnny Thunders guitar riffs, and Cheap Trick-style melodies. Makes you want to jump up and down, break windows, or drive real fast.
This quartet plays Alt Country, that at first seems almost overly familiar, but ultimately distinguishes itself through some very clever lyrical turns and grabby melodic hooks. The band seems at home whether churning out shambling rockers like the portrait of a Southern femme fatal in "Mary Jo Mechanicsville," or working through the quiet, semi-acoustic kiss-off of "Soap Opera Star," with the tag line "I don't need your daytime drama ..." Either way, this act effectively shows their intimate knowledge of small-town life filtered through a love of Neil Young and Stones records.
Richmond, Virginia, band rips through punk rock tunes inspired by early D.C. Hardcore. Power chords fly by in a blur while drums knock you over the head and determined screams force your undivided attention.
Politically-motivated Punk with a catchy melody, gravelly vocals akin to some of the best East Bay bands (Crimpshrine, Jawbreaker), and the speed and fury of crusty political bands like Discharge. A rapidfire assault of fun, urgent Punk.
A dynasty built like a grab bag -- a lot of cheap Casio Synth-Pop, some droning Experimenal Rock and an occasional guitar-pop ballad. All served up with little to no studio polish.
Intense and passionate playing delivered as if the band's salvation depended on every note. Unfortunately, the vocalist overdoes things a bit. "Row, Row, Row Your Boat" would turn into opera in his hands, but these songs remain well-crafted gems of darkly melodic Grunge.
This solo artist plays everything real drums to guitar. Instrumentally the tracks come off like swampy Southern Rock with twangy guitar while the vocals are a cross between Merle Haggard and Matthew Sweet.
Sassy, indeed. Lee Harris & the Sassy Astronauts keep things tight and funky with bumping bass and faux-horns. Silly lyrics keep the audience guessing as to whether they're they're laughing at or with Funk's absurdities.
Light-hearted satires of modern life with a roots-rockin' band and purposefully nerdy vocals. This is quirky and clever, with no subversive intentions; they just want folks to have a couple laughs and maybe shake their hips a little.
No Reviews @ Listen.com
GWAR are a renegade outfit of performance artists that, with their macabre and perverse live shows, strike as much fear into the hearts of city council members as the word "Ticketmaster" does with concert-goers. Pagan ceremonies, sci-fi schlock, and fake blood by the gallon are the main elements of their repertoire. Oh, and their music -- workmanlike forays into grinding Death Metal. See them perform live.
This band is essentially the brainchild of singer-songwriter and multi-instrumentalist Mark Linkous, and a revolving cast of his cronies. They make strangely beautiful, beautifully weird music that draws from Country Rock, blues, and Soul and adds a cut-and-paste sonic adventurousness to the proceedings, finally winding up someplace that can only be described as different. Linkous has a penchant for subverting the hooks in his melodies, altering the vocals or piling heaps of sound effects, feedback, or seemingly random instrumental fragments on top of them. His densely ambitious music has gained him cult status in the U.S., but European audiences have embraced his vision and made him something of a star.