NEWLIN MUSIC PRIZE 2024 - 18-Album Rundown -

mostly track-by-track reviews

Contents:
1. Ant the Symbol, I Know Who I Am
2. Leech, Belly of the Heart
3. Bone Machine, New And Improved Sleeping
Positions
4. Butcher Brown, Solar Music
5. Dead Billionaires, Disaster Preparedness
Coloring Book
6. Dorthia Cottrell, Death Folk Country
7. Duct Tape Jesus, Chester Skate Land
8. Elitiurite, After Wake
9. Hotspit, Memory of a Mirror Image
10. Keep, Happy in Here
11. Logos the Poetic, Death the Fool
12. Noah-O and Big NO, Richmond Brave
13. Ostraca, Disaster
14. Righter, Bad Art
15. Rikki Rakki, Breaking Skin

Ant The Symbol= lyrical, feminine-forward, ritualistic,

quirky, collaborative (Check this one for lots of cool collaborations with a variety of
independent Richmond music artists!)
1-2 Fear of flying is pretty relevant to me right now writing this, as almost something I’ve left
behind and that echoes. As the singer on track two takes an intimate and simple breath that lets
me into a confession, I just have to start trotting along with her on a kind of rant. This album
starts out with a female singer in a confessional that becomes a reviving mantra. And I’d like to
compare it to McKinley Dixon’s fantastic intro on his new album which also came out last year.
3 Introspective on the choices of an alcoholic. Asking why people are so interested in hearing
his perspective. And what gets him and every black boy through pain – a holy almost mission
and pursuit of finer things like joy and peace and happiness. Atmosphere is a big factor here.
The singer has a dynamic relationship with the background beats and notes that the singer
almost sings up to. The awareness of a bubble ceiling or heaven’s limits is here. The singer’s
jazz infused scales transport me to a foreign, desolate soulful place – maybe forsaken of water
– where you cry to see the moisture escaping her mouth in these spiritual meditations. “Treatin
my queens like trophies in the public that’s the new vibe… had to break the four walls when I
stepped into reality…” I love how these retro vibes of a record restarting in the background give
this presentation a down to earth, roots of hip-hop sincerity.
4 Kenneka Cook appears on last year’s shortlist in her own release. From fear of flying to
making circles. “Let your life overflow, going round in circles, going nowhere fast.” This Album
so far seems very lyrics forward and focused on movements from track to track. The whole
things is very protective and encouraging even if it’s still hard and honest. Maybe dedicated to
little birds.
5 The intimate and encouraging vibes become “Transform,” a Rob Milton gospel-inspired song
that still carries on with the laid back beats and tempo that let the lyrics shine. “Don’t forget to
light the tree, I’ve got you as long as you’ve got me.” Drums at the end begin to speak up a little
in support of this soulful, simple and gentle song.
6 Guitar intro and singer are very modern and clear. The tempo has taken its time on this album
and finally picks up here. “Anneliese” sings here backed up by a psych-cali-soft-piano rock style
guitar, and then a beat that keeps this vibe really minimalistic but brings her layered vocal
refrain to a dance level. The bass gets introduced at the very end of the track (like drums on the
last one,) and it’s almost as if it begins to whisper before it really comes on. To me this whole
presentation is really simple and unique. The singer meditates about the fire on the horizon
when you can’t tell things apart. I think with just the song and drums and a little bit of guitar, it
feels very safe – like the singer is exploring their thoughts in a safe place.
7 Last year’s prize winner, Deau Eyes, features on this track. The vibe is a little bit disco here,
bringing a different flavor to the album, but her message is very much part of this patient and
well- marshalled presentation of songs so far. “It’s Not Too Late” speaks of darker times,
beyond the horizon maybe, when you have to fight for redemption and to return to the surface
maybe.
8 I am so excited to hear Angelica Garcia’s voice again on this album! When the first two tracks
were speaking of learning to fly it was from a voice that was really kind and honest and
reminded me of this artist’s nominated album from two years ago, Echo Electrica, and her
fantastic song, “Paloma Negra.” Garcia and these beats pick up from the previous track and
basically kick it into gear and apply acceleration. Rap/sung lyrics in Spanish backed by drumline
horns with a flamenco flair, this song asks to put the breaks on, and then the song breaks down
a little bit - it’s message is here and then gone, but the music stays to elaborate and get down.
This is a very fun song!!
9 Matthew E White is involved on this track, which reminds me of the distinctly disco fever
production from his collaboration with Erin and the Wildfire last year, and which I recalled when
listening to track 7 here. His dark vocal tones (with a curious hint of levity) contribute in an
understated way to the refrains intermediating two soulful rap bios given by artists living in
Richmond. Synth keys ambient songs to back up the kind of wiped out and empty songs of
artists who have given everything and worked and struggled. Their words inspire us with the
way they keep coming from some invisible reserve of strength they have within themselves. I
just love it! This track fades out to a second part which focuses on the beats and music maybe
of the producer here? This is actually a really gorgeous postlude (I thought it was a new song.)
Harps fade to violins and the “ripples in a golden pond effect” of notes that shimmer and vanish
– it kind of reminds me of Supermario, but not in a funny way. I would have to give the biggest
ups to this part of the track.
11 Deau Eyes is back and sings from this happy, gentle musical space that her beautiful voice
transcends above like a joyful diving wave. I’m very slightly reminded of 90’s Natalie Merchant,
Heather Nova while acoustic guitar gently ticks along with the simple pop beat.
12 Abby Huston, a past Newlin nominee, matches vocal tracks with Logos the Poetic on “Can
We Talk?”
13 Silver Gold & Cream
14 The Fig and the Wasp – I feel like just judging by the titles, all of these collaborative tracks
build to the end, in which Ant the Symbol is able to make a creative statement. Feels like a
reference to African folklore.

LEECH pop punk thrash femme meeting with boy pop - I feel like
Sweden and Japan have met up in Richmond for this un-funny mashup on track one.
While the title is almost visual and surreal, these lyrics are more realistic and decisive,
investigating relationships and making strong declarations that define evolving
boundaries.

1 E T A very punk premise that enhances the frustration we often feel when whe adopt this
impatient acronym
2 Beep Beep Still not off the topic, urban and intense but also laid back and fuzzed out. Funny
ending and I love the image of being shotgun in the Barbie Jeep. “I totaled my car” this kind of
helpless dolly attitude. It takes a little while for hard plastic facts to sink in in such a frenetic
environment.
3 Cowboy Killer this song lays out a pretty bad girl aggressive statement - I like the “bandy with
a narragansett” image of this ken kind of guy who looks good with his beer and motorcycle, and
then the song kind of breaks down into the music behind the intimidating lyrics and makes it
really cool and easy to get down to.
4 More beer on “Jimmy.” I am still thinking of quick fixes and repairs and the totaled barbie
jeep. I think I heard the n word? Words in this song are contorted - Jimmy needs some pills and
he needs to quit “liquor.” The girl is married with a couple of “Kids” and a big shiny rock on her
hand. Kids sounds like cans. This song closes out with a cigar box guitar solo (thinking of in the
tin can music,) and in this world, the danger is mis-hearing some of these words. The bad-ness
is kind of translated into an Ice-Spice kind of world where words are defaced and changed and
truths are derped and we blaze by them so fast in these intense songs that exchange electronic
themes with rapidity. This is the edgy punk take on things that pushes at boundaries with a
savage for art’s sake kind of intensity.
5 Primordial Soup - this was a title from a previous Newlin Prize nomination. My reference point
for this album is “In the Belly of the Whale,” a really popular Decembrists kind of folk song that
took over independent radio here a few years ago – calamity song? Or mariners revenge? The
vibe here is like pop it in 1 and do a burnout 180. This is my favorite song so far - its a little bit
softer. The refrain voice mashes together like swedish pop, teddy bear rap and hardcore. Back
and forth about wanting to be in a primordial soup and then out of it, this group deftly handles
themes and transitions like a DJ, closing out with yodels and spacious classic rock drums.
6 Flip the Lid - carrying on with the internal dialogue, in vs going out and feeling a little bit
trapped at home with their thoughts. This album has, at this point, fully submerged into a dance-
club sound, and the feminine punk and rebellious voice guides us through the “pandemonium.”
Even into anger, I think we get to the title track of this album and then just get kind of released
like bubbles up to the surface.
7 Papercut Bad girl careless harsh and yet vulnerable, the band sings about leeching in
relationships and the one voice getting sidetracked to get focused on relationships even when
they end up in scary ones. They are torn, not wanting to end up sucking blood and leeching
their SO’s pain or whatever - performing a kind of parasitic service, and wanting instead to be
an individual and following their own motivations. “I was gonna be sufficient till I needed your
affection…. Sweet like an apple then you’re flaky like croissants.”
8 Circus synth melts and sags immediately into rage. With as many biscuit brunch places as
there are in the downtown area, I like the commentary that this song offers in terms of imagery
of the river city. And it’s a little scary the way the strong female voice can look at her life in terms
of benders and breakdowns and weekends and know her own anger this well. I really
appreciate the state of being - I am glad she protects her own rage and gives it this space,
because I feel like even when you know you have it, you know it comes and goes, and might
partly understand where or why it comes from, I think working through it inevitably takes time,
no matter how well you know yourself or your situation.
9 Chew Your Head Off - After biscuits and primordial soup, I am feeling like these are
references to restaurant culture in RVA - with musicians making their way working late nights in
rva kitchens on the side? This song kind of changes gears to a softer voice who might be talking
to the enraged person, who doesn’t really intrude in their rage but just expresses their own
regret- its a little bitter but not aggressive.
10 The love you gave me was a black hole sucking in everybody we know. I love this lyric and
the commentary it offers on community conscious people who struggle to set boundaries. These
creative inspiring individuals struggle to balance leeching relationships with being alone, and the
direction of their creative impulses. I love this album for the strength of the youthful artist’s
voices who want companionship. The talk doesn’t really give them what they need. They are
confused by the changing emotions of the other person, and prefer their own company instead.
We are kind of flung past the dark center, belly of this album and are flying away into the
unknown again on our orbit, in a g-force intense curve right now. Its as if the lyrics are darkened
and in shadow, and the space is kind of vapid and aimless - uncharted. Reference in the title to
an awesome Paul Simon song and the girls aah ahh yeahs are very “Sabotage.”

(Songs that didnt come up on spotify: Scuffletown - I like this one! Plus it refers to the famous
neighborhood park where bike rides start, where music of my gen plays little persian carpet
shows on Thursdays and where you can find ice cream and pizza – little walk-in delis and
convenience grocers. The peace of this little park doesn’t really harbor all of this dark emotion -
more the calmer side of this album, but I like that - and the challenges here of leaving someone
unread, not having the energy to be there all the time, and then rage and burning this shit down
feelings they exhude when you ghost them. “Wish I kept you a stranger…” And, DaDon – I don’t
know if these would be considered bonus tracks, but I find that they are the more in-the-groove,
even, playable tracks.

Nincompoop - parental advisory - sanitizing people is a bit absurd. Add in a little bit of the
grinding electric guitar and it gives these spaced out distant tracks a little hint of humanity and
sympathy that is so rejected by these intense songs.)

Dapper Day comes to RVA Bike Polo, Nov 19, 2023

BONEMACHINE - New And
Improved Sleeping Positions
The title of this album might suggest sarcasm that has cooled to irony, but what
that is put aside there are some really vulnerable songs here that touched me.

1 Only in Dreams - This is a cool kind of west coast motorcycle garage rock song. Upbeat and
spacious and a pretty even jam all the way through. Quality is a little bit fuzzed out - it matches
the intensity of the song and splashy percussion. Gives a good intro to the band’s let-loose-loud
live sound.
2 Trigger - a little bit darker and aimless, and shows the lead guitar
3 Hey Man - this is my favorite song on the nominees list so far. I want to say it’s a song about
friendship. It’s kind of a slow dance rock song with psych rock decoration. The singer’s husky
warm voice is very relaxed, and the song fades out sweetly like an Eric Clapton Classic. Makes
me think a little of the awesome slow vibes of
4 Feel Like A Man - cleaner production and rangey, begins with a kind of creeping posturing
mode and then picks up fast tempo and driving bassline, with deft guitar leads that infuse psych
surf and punk. Thinking of Tame Impala for the quick transitions from different themes in the still
spacey song and the percussion. I get a little bit of the dry humor here that is also in the title of
this album.
5 Don’t Run Away - Humor transitions to a darker intro that I think is kind of tongue in cheek and
scary but also transformed by the music to a danceable, cool, fun song. Atmospheric loopy but
rhythmic intro, building on a surf psych rock kind of phrase, I like the way they pick up the pace
for the intro to the refrain, grind out the refrain, and then transcend to another level, building this
song into another spacious, hard psych surf rock song that has just the metallic edge in tone at
the end of the riffs.
6 I’m Here To Guide You (Intro) - Losing a little of the brightness and beach vibes, this takes us
on a little bit of a darker quest, still pretty organic.
7 Doublelife - Black Sabbath kind of rock breaking down into a rumbly bass solo and
experiments with synthesized sounds that build to guitar and then more layered vocals that are
a bit more intimate as far as really being able to hear the several parts that make up the distinct
fuzzed out sound we hear.
8 Bodymelt - Supercool intro. As far as Richmond bands who cultivate these psych rock sounds,
I am thinking of Dumbwaiter and Pirana Rama, and maybe Spooky Cool for their harder-edge
take on the darker side of things and exploration of many themes on one album. Again, the
vocalist shines on this track, bringing this song back to the intro track with an open-road, upbeat
but hard rock attitude. Music becomes hard rock with hits of thrash but the vocalist really brings
a warmth to the song that is inspiring. As the lyrics talk about running away, the very crash and
thrash music has me thinking about rising above and being a step ahead of the things that
weigh me down.
9 Drugdealer - Awesome bass line, classic metal with the addition of the mirage guitar sounds,
and a little rock theatre at the end that takes us seamlessly into…
10 Gold - where lead guitar takes a solo, bassline mellows out and takes a walk, drums take it
down,
11 Deeper - and the lyrics remind me of the quest, and the music picks back up and bass and
drums meld back together, popping like a motor and I’m still getting the 70’s vocals vibe with a
touch of modern psych, and accents of theatrical black metal.
12 Window - I really like where this album leaves us. It’s a little bit reflective and sentimental,
and bittersweet, but still upbeat. Softer memories pull the song into sadness but then a great
refrain celebrates individual strength. With some oohlalahs the speaker comes around to a
place where they hope the memories will be mutually cherished and kept. Back to the
slowdance-able vibes “Hey Man,” this is a little bit more of a sway and snap your fingers in a
circle with your best friends kind of song. I’m left recalling the first track title, Only In Dreams,
and feeling a wistful innocent kind of way. Those poignant guitar notes have that softened
plaintive but triumphant sound that closes out the album and makes sure it’s memorable. Oh
yeah!

BUTCHER BROWN - Solar Music

Mixtape music, very laid back and bright. I love the meticulous and static album art that pairs
with this unassuming and mellow approachable music. It’s approachable, but you kind of have
to approach it with a thoughtful and bold attitude. There are a lot of songs I like on this album,
and I think the craftsmanship is really meticulous.

2 - keyboard does soul and hihats and trumpets make it feel a little showy and still get-down-
able, maybe like a spy movie where the main character has a fistfight in a tuxedo. Shreddy
guitar riff
3 MOVE (RIDE) - Pairing lyrics with the looping of these tracks - a mantra with variations
becomes the refrain. Tennishu delivers a rap (my fave rva rapper.) This song definitely has a
strong message. It’s a little bit forbidding or impartial with wisdom from ages maybe - it feels like
I am getting advice from a gypsy?
4 - Cool dance beat and global peppy/pop dance rap. Permeated by trumpets in minor key that
keeps this track cool and ambient.
5 - The ambience picks up and we hear jazz themes and deep synths like reeds. Atmospheric
and vibey.
6 - Eye Never Knew It - Lil Wayne style rap intro is meditative, and backed by a building jazz
interlude, when it builds to a theme, rap follows it, pairs with the very traditional sounds and
snapping fingers as kind of an underlaid background that is curiously rougher and harsher than
the music. Maybe it’s reminding me of the multifaceted African American music culture. There’s
like a tribal rhythmic aspect that is blended with this jazz. Maybe this song lets me take a step
back in time a little bit, and appreciate what it might have been like to experience the
emergence of jazz.
7 No Way Around It - Hip hoppy thug bounce rap with a very musical, funk bassline. I feel like
the flavors here are pretty adventurous, because of how strong the blend of rap and almost
disco funk - this is a fun song that highlights the rhythm of hip hop and funk and also the
musicality of the bass.
8 Half of It - celebrating female rap, and how women can have strong raps, celebrate that they
are “Bad Ass B****” and might have felt left out of this scene. I love the plainly spoken and not
timid but gentle voice of the speaker. I love the way in the studio, we can elevate that personal,
spoken, intimate voice to a journal of a future self maybe, with hi-fi stereo bass and drums. It
creates this really wonderful dream world that is safe and inspiring.
9 DYKYD - Reference to umbrellas - have you all seen the RAKE videos where the random acts
of kindness person tries to survive by just giving away umbrellas in cities, and as a rule, asking
for nothing, but hoping people will offer him kindness in return for his kindness. He just relies on
his extroverted nature. I think this is a tougher song, that taps into the reality and importance of
work and respect and its backed by smooth leisure jazz.
10 Happy Hourr - this group is reviving these fab, first popular records kind of music and it’s
really soothing and nice to hear, and transitions smoothly into
11 Run It Up - a song where more modern drumline aggressive ambient jazz and then a hard
rap are paired. Eclectic and stylish. This is very well-mastered music that is not shy.
12 Back to the flavors of track nine, smooth jazz and elevated hiphop, this feels a little bit more
familiar of a style, but still adds a very recognizable mix-tape flair in the volume modulations
that gives this mix a little extra kick.
13 Sentimental and smooth jazzy, mellow, easygoing and free.
14 Bubble Bath - Groovy ambient, these two melodies really talk to eachother for a moment.
Everything melds together in the bubble bath!
15 Touring Pains - Ambient track that imposes rhythm on a conversation. I really like this
sound art piece for the way it emphasizes the feeling of hearing your own heart or projecting
your own feelings onto a room full of noises and even though we don’t always think of a
cafeteria in our college, or maybe here, a house party gathering kind of thing, as being anything
more than ambient and random, we can meditate and hear the rhythm of life around us.
16 It Was Me (Car Chase) - Peppy drumline rap (not quite drill,) that melds with a boiling bubbly
trouble electro-style riff.
17 Around for a While - Thinking of That’s Just The Way it Is, and then the Tupac Sample
version (https://youtu.be/TnwU2iMRUqA) of the same song. This is in a different key but
conveys the same hopeful/poignant/humble acceptance of loss. Then this takes off into a
spacey futuristic moment that I usually only hear in Wii video games, but feels very weightless.

All the edits are also awesome!!!!!!!!

DEAD BILLIONAIRES - Disaster

Preparedness Coloring Book
Love this album title right off the bat - it has me recalling (sadly,) news stories about sunken
submarines, or more strange and unsolved - a mysterious, un-identified blimp crossing our
nation’s skies - this story perturbed some of the children I worked with in particular. I like that
this album is intended to give strength and solidarity to those who are, “living through the fog of
disenfranchisement and powerlessness that make up modern living” (Dead Billionaires, Bandcamp.) Folk
punk loudly rejects the billionaires of the world and cultivates a more authentic sound. I love the
bandname and title of this album because the absurd and fascinating stories of dead billionaires
have caused such a stir of discussion among my friends. We shame the billionaires for being
risktakers and ill prepared to venture into new fields like exploration, and we are mulling over
stories of tesla really trying to make a difference getting to space… do we find him to be
authentic? What does money really do to a person?

Classified as “ramshackle rock n’ roll,” I want to give it a listen and distinguish this group from
folk punk, because it strikes me as a very politically engaged album:

1. Track one is on the melodic side of a rousing folk punk anthem with a clear and bright
guitar solo.
2. Straight Shooter - as a companion, this confessional, down song is definitely relatable,
and it brings us together, rouses and despite a dark outlook, fills me with spirit. Spending
too many hours in front of the computer (watching TV,) and generally feeling sick are two
states-of-being I can relate to. “I’m an American… I’m here, putting in the time, I
guess…” Being conflicted about images of strength in society, the feeling of not living up
to them anyway, frankly run down and tired and lost when the strong image I have to live
up to equates to violence? This is a really well-written song that does depict
disenfranchisement and powerlessness, but from a very intimate, personal perspective.
3. Pink Slip / White Truck - best title I’ve seen so far! Simultaneously reminds me of
American Pie (the pink carnation and the pickup truck, and I knew I was out of luck…) of
Grease (we’re racing for pinks. Pink slips?) and the genres of jam and more modern
indie DJ groups and pop artists that name songs with artful slashes like this respond to
the way music can liberate artists to juxtapose and fuse ideas and sounds and together
and transform them. The playful addition of an overbearing digital wubwub sound
startled me at first, but is quickly camouflaged in the gypsy cymbals and fast rhythm and
then splooges and dilates, inducing a panic/anxiety effect that more traditionally in
folk/punk techniques is created when the singer shrieks their lungs out. Why TF not?!
And on a second listen, this song does have a killer bass solo- an addition that might
give this group some of the strong sense of melody. I love the way the play with genre
can get a little political here. Folk punk is about sharing, and commiseration, about
anthems and the scream is like a collective letting of anxieties. In contrast, those wub
wubs kind of come from unseen forces and make one feel a little powerless and like one
is ready to surrender to the heat of the music. It’s like wearing two very mismatched
shoes and just rocking it. When it comes down to it, you say trucks, I assign a genre
quicker than I know I am thinking. Between this and the next few songs, I think this artist
 is putting in some real work with identifying and questioning cultural bias. And I think this
is done in a relatively quiet manner.
4. 15 Words - Here comes that aggressive bass and bright guitar lead again. On an off
beat with all the jangling, this is not quite punk still in the first half of the song. This
elevates to an anthem and this album is proving it’s very on the nose and dead on with
modern media culture.
5. Checks - Again, the music here feels like very modern, relatable and pop culture
conversational, but with a hint of hyperbole. Despite being a rant about unfixable
problems, It's a little bit romantic and still aspirational - the music has that power and
transforms our feelings past the words, and make us feel good because we share
problems. I also think this song is a bit darker than the average song and blends a
peculiar range of experiences, so that I am not quite sure of the audience it appeals to.
Maybe it challenges stereotypes? Could be referring to the duct tape jesus production
studio? I think when it comes to checks, this speaker is bringing the community together
but is also markedly cautious about cultural sensitivity.
6. Stoplights - heartfelt and sweet, this has me thinking of my drive through the old
neighborhoods of the Fan District last night, stopping at all the stopsigns and single
flashing lights, and wondering if, in a big yet intimate city like Richmond, you can think of
your block, your closest oasis of cafes and offices as a little city in itself.
7. Stones - a little honkytonk and swing, I really love this song. It’s not ramshackle its
absolutely spot on. I don’t know who translates country rock better - Dead Billionaires or
Deau Eyes (Another One Comes Around | Deau Eyes (bandcamp.com)!) To me, this
band, which has been an RVA fixture for forever, nevertheless sounds kind of from
anywhere, if I think about the positive and motivational lyrics about building my own road
stone by stone, I can see those historic cobblestones of our Shockoe Bottom, and
wonder if this band has fond memories of Alley Katz and making their way at the Canal
Club with the ska punk scene.

DORTHIA COTTRELL - Death Folk

Country
Um hello, dark Gillian Welch, dark Loretta. (https://youtu.be/HgOjLi_RYAM?
si=p97thH6UMyiZ_T7Z)
This dark death music has me hearing the solemnity of labor songs of appalachia, where the
faithful, doomed to sin and a lifetime of work and penance, sing these kind of prostrate heavy
ballads. Death means just a hair of a dial past dark country realism into metal-inspired folkloric?
I love it! What a beautiful and well-paced, dynamic album! Family Annihilator- I don’t know if
this song is about death? There’s even a touch of that outlaw, outcast ramble folk (a little
southwestern.)
Effigy at the Gates of UR- totally metal image here in the introduction, but the images after are
gentle - like white doves and a spirit flying away and being released. This song is an absolutely
beautiful elegy. Its a fulfilling and beautiful song written to someone who is still there to comfort
the speaker who is facing a great loss - a death. “Lay on down while I cry on my pillow, make
me feel like nobody, don’t say that you love me.”
Midnight Boy- Singer almost sounds like a boy because of the fuzz on their vocals, this is more
folk, i guess, with the style of archetypal storytelling and sparse rhyme in the refrain, with a hint
of soul. Love that it has these voodoo images of cemeteries coming to life and all because of a
boy, and then more metal images of flesh on fire and devils being summoned.
Hell in My Water-
Take up Serpents- these are bottom of the well, honest at my worst songs, that are shrouded in
mystical and plodding ascents. The suffering is kind of accepted and familiar, come again to
give trouble to the artist’s spirit. Ritualistic and a little motherly?
For Alicia - slow, dynamic, heartfelt and powerful advice and courage for a friend. Gently
feminine and subdued?
Eat What I Kill- Acoustic,
Death is the Word for Love-
DUCT TAPE JESUS, Chester Skate
Land- I am pretty sure whoever did the album art for this album also created Ty Sorrel’s
(producer here) album art from last year’s release which also was nominated for the Newlin
Music prize. That was my favorite album cover and I love the feel of this one as well - there’s a
goodness and simplicity, an ease and honesty! It’s a slice of modern youthful African American
life that is beautified by greenery. Some bunches of leaves in a simple garden seem royal. Ty
Sorrel produced most of this album, which is named after a roller rink in Chester, a town south
of Richmond.
I feel like this is the most adventurous with sound sampling of the hiphop R&B albums that I
have heard on the nominees list. It’s also the least tuneful and although the sound is kind of out
there, the people on the cover, in sneakers and slides, taking selfies, kind of remind me that art
can be a little bit intimidating when you don’t know who it's made for and who it inspires.

Vinny-
Press on - I like this song a lot, but my son said I can’t give it a good rating because of the
curse words (*devil smirk emoji.)
Mitski -
Rise Above- gotta respect the artist sampling John Mayer!
Veggies is definitely explicit.
Jetski (feat. Bussdown Leffield) - also pretty explicit, but I kind of dig this one.
Black Corvette - Interlude type of track that will lead to the more musical tracks on the album.
H.O.Me - slowing down and getting real. I think this is a song dedicated to the artist’s mother.
NYC 2003- sound art, stilted rhythm, a singing voice from an other world emerges and begins to
merge with the music box sounds, that gradually slow and form a more recognizable rhythm
disruptively loud. Someone suggests they can draw a crowd by getting in people’s way. I really
enjoyed the melody and its abrupt ending.
Yby (feat. empress rave) - this throws down a party beat, and there are sounds of a crowd and I
feel like they are recordings that have been creatively layered behind an-up close and personal
rap that fades back into something that sounds like the speaker is in the live recording. It’s all a
little confusing. I like the track and even though it’s artificial, I really don’t feel like the artist is
saying anything about how we are going to begin to question all the media we see and hear
now as computers can do more and more for us. I think it’s more about the craft of making
atmospheres and transitioning from one to another.

ELITURITE after wake

IG up - I’m pretty sure this song is about getting girls, but there’s an interesting rap in here
about the value of an artist and the nature of their creations being kind of selfless. The speaker
suggests the artist can take his payback in the form of making creative decisions and guiding
their own next steps.
Then who knows - I like the guitar on this song - it’s very bright and soft-toned. Solemn rap, the
artist keeps giving ups to supporting the Richmond music scene, which is fitting.
Pidurangula rocks- I definitely want to know what this song is about? A variety of plant? Still
more RVA love, and “how do you speak to someone who hides from what they really seek?” I
like the way this rapper is kind of inquisitive and puzzling. “Picking at the same scar.” This rap
makes me think of the juvenile fic poem collection called Crossover, by Kwame Alexander, and
the poem “Pulchritudinous.” While the speaker wonders whether he should write music for
others, I think he decides its best to stay true to himself.
Deuce flip-
The Other 50 (Interlude) - strange interlude with an anecdote about marriage divorce and death,
none of which appeal to the speaker!
Easy Night - in the background I can kind of hear that same psychedelic kind of background
sample loop. Besides plants, I think this is a millennial kind of music. This is a kind of romantic
explicit song about netflix and chill!
freshafterwake- gives regards to DJ Harrison, who created the track here.
tripintodaylight- definitely millennial, because the guy likes to relax on youtube, and knows its
dated now, and that the world is probably ending to boot.
Sometimes-
Rainbows in the Dark- lovesong to the artist’s wife, sipping kroger wine, to his words of wisdom
and parenting techniques, a confession to his child. There’s some play with numbers here- the
album release and the minutes and seconds of this song are the same.

HOTSPIT Memory Of A
Mirror Image
1 Glass - Vocals are kind of curious - very softened on the beginnings and ends of lines, but
still clear on all the high notes. The texture is gauzy. Music is melodic, indie.
2 Cave Dweller - A little less gauzy, and there are images – of a table in an apartment where
you miss leaving things. Dreamy indie. Vocalist has a really beautiful easy voice - and the music
kind of follows that lead. Representations of a person - the objects in their life – lead the singer
back to a memory of the person themself.
3 Wane Mouth - kind of builds up the tempo of this album, I love the way, with this genre of
music, tempos can build so imperceptibly and suddenly what was dazy and mellow and lilting is
formidable and peppy if still quite restrained.
4 Melting Point - I know I reviewed Icemelt by Crumb when they came to Richmond. Fluid and
easy are some shared descriptors that could connect these artists. Also, this song, with it’s
tempo and tune, and the quality of the singer’s voice, which kind of emerges more and more
clearly as this album progresses, reminds me a little bit of Frames, and their Newlin Nominated
album Every Room.
5 Fragments - nice wrapup and tempo change on this song.
6 A Memory Shouting - It might be that the guitar is another voice on the album as this wraps up
acknowledging the fadeout of your best friend. There is a moment of silence, and then the band
goes to the heavy, tortured, spacey breakdown over which the singer’s voice soars but really
absorbs the dark and edginess of the guitar for a moment! I love it!

Where some of these albums go back and forth between two distinct speakers, or feature many
voices, this album is notable for its simplicity. I think albums of this genre tend to have distinct
beginnings and endings, a quiet presentation of distinct songs that all kind of carefully end in a
similar place. Each piece is almost like a well-thought out yet effortless statement – emotional
and yet distant.

KEEP Happy In Here

“ It’s an album about firmly feeling the passage of time. It’s about eternally searching for the perfect distraction, to no
avail. Above all else, it’s about the reconciliation between the idealized version of life and reality.” bandcamp band’s
statement

Can’t You : Rock with an emo twinge, Thinking TBS mixed with Linkin Park
Air : Emo Vocals have a National-esque depth and absorption into the music at times, but that
switches to U2-esque verses. Tempo is fast and I say emo foundation, but definitely shoe-gaze
and a little bit of a harder edge. Stubbornness and isolation
Dasani Daydream : Dreamy and about reflection and change? I think if this song is about
idealized reality, then “trying” means maybe what we have to do in relation to the way we see
things should be?
Glowing Green : Slowed down, spacey, amped up bass that carries on the vocal melody as the
vocalist sings above it on more-strained, higher verses.
In The Deep : Drinking together,
Everything :
Hand2Hand :
Start 2 Wonder : I really like the coalescence of a slight key change (Beatles) with the rise in
tempo of a kind of reverb. Gives this frenetic excitement that feels like a very new and innocent,
light and unpredictable energy. But in this music it’s neither brought on too quickly nor pushed
beyond its limit.
Enhancer : Some grating guitars, heavy sound that comes at you from several sides. Kind of an
echo at the end with repetition that reminds me of “Air.”
Pull the Curtain Back : A nice acoustic confessional to wrap up the album. This is a beautiful
melody. Thinking of David Gilmour and Flaming Lips?

LOGOS. THE POETIC Death,

the Fool
Intro: I think this will be a story told by the “son of death,” whose father “worked in death.”
Theatrical and creative. Robotic voices and a period of silence on this first track, discussions
with “the gods,” or “greater powers.”
Hades: “I wish I could disappear.” Lots of allusions, cool guitar soul-o at the end.
Limon: Chill
Adonis: This one about overdrinking, heavy synth in the background, and lyrics overwhelm and
lay on the pressure.
Hubris:
Snapshot: This is my favorite one, it gets a little bit pop, political. It’s also a little darker, and
reveals anxiety and maybe a darker side to what, on the previous track, was all up and up and
confidence.
Hit up Olympus: Referring to more popular 90’s dance tracks – “toot toot, beep beep, hot n fresh
out the kitchen…” references to drug addictions. The shelter the artist seeks is either from the
risks associated with the lifestyle and a desire to escape, or something else?
Fever: More nice soulful guitar, fever is yelling and running around, firewalls, hearts running
abound. I guess here the physical and mental kind of melt into confusion, and maybe for
someone who becomes kind of overwhelmed in a career of spoken word like this, it makes
sense
Hera: I really like the phrase “contraband clovers.”

Richmond Brave NOAH-O x

BIG NO
Big Phil, 4 Seasons, Time, Champion

I like these songs a lot! It’s hard to saw like when I think this album is kind of an angry defense
of longstanding ingrained culture. An unabashed worldview that doesn’t skim over violence,
poverty, addiction and an angry voice that asks preppy school boys if they know who cooks for
them? Its a harsh and starved album that builds up to a beautiful and regretful elegy for a lost
“champion,” a boy who represented the hopes of a colorful and treacherous society.

I like the Rick Ross sounding rapper who hangs with the Llamars. His voice feels very raw and
urban.

And a thought about the rapper who says all he will leave behind is “my legacy–” I thought he
said “mindfulness” at first, which is a nice idea too.
Strong message! I am not sure whether the album should win because it’s so parent advisory,
but it has such a strong message from start to finish – it was like a page turner novel for me – it
really told a bold story.

Tracks 3, 5, 6, really most of them have strong finishes to a good song.

Disaster OSTRACA
1. Constellation - if you listen to metal at the right volume, I guess it can be kind of
soothing. What is happening to me in my somethingth decade on this planet?
2. Heaven is Still- A little more aggressive intro picks up into a tuneful melodic kind of
frantic, time-is-running out moment, followed by even heavier conclusion and lots of
feedback on the fade-out. Then, a very lonesome low-register bass line builds along with
a pensive and muted melody that’s perfect for me as I stare out my window at mossy
tree branches after the rain. Builds to a mellowed out finish.
3. Stage Whisper - 7 minute track that kind of stays at a low place from start to finish - Hard
to define this guitar tone that I hear on frankly, lots of indie rock albums. It’s floral and
modular? Its bright and piercing? But delicate? I don’t know if it’s a characteristically
Richmond sound, but it branches from metal to shoegaze to indie, and even into some
darker jam? A heavy lingering solo builds to darkest screams yet and strumming and
drums unleash dark emotions. This singer honestly sounds a little bit like a crow. Then
the guitar melody returns with a heavier background that depicts maybe an ascent that is
more burdened and exhausted. Finally a sung portion that is more baritone and roaring
and frightening and a final bout with a kind of refrain, the original singer sounds kind of
damaged at the end. There is a beautiful cardinal sitting on a branch in my backyard.
4. Wilholm - strange horns introduce this number. Maybe bagpipes or even sitars? Back to
the baritone roaring voice that twists into the shrieking crowlike call. Suggests to me
there is an internal turmoil going on? Kick drums, and then a more melodic portion of the
song that sounds like kind of an ongoing drawn out faceoff with the demons? A fan on
bandcamp suggests the meaning of the word wilholm (in the past,) is meaningful. I
suggest it sounds like a haunted fortress?
5. Rebuke - a more aggressive guitar lead suggests the hero’s battle intensifies - maybe
it’s their final stand? Drops off to a very empty lonely couple of notes
Righter - Bad Art
The Auricular reviewed this album, calling it, “Compelling, tenacious, and ingenious all at once,
this record is an immersive experience that rises above the station of personal expression,
landing somewhere in the vanguard of emotional philosophy that can captivate any listener if
given the chance (Nunnally, 2023.)” This is pop-punk, feminine, and earthy! Righter is steadfast
and strong-spirited, honest and bold. Not afraid to face up to complex societal issues from a
personal standpoint. Very “plugged in.”

Holiday: memories of New England and the artist’s past, going home and all that that means.
Personal and introspective, but open too. These vocals are so striking, clear and rich! I like who
said on their bandcamp page that the vocals are a good match to the guitar and the music is
neither too basic or needlessly complicated. New England is like endless night? Perhaps
because of thicker woods, the moon is shrouded. Nostalgia, empty bottles and jars make it a
unique memory the artist calls to – to New England and people of their memories, as horns and
a building two-step melod retreat to bare lyrical lines and make this is a rousing song you want
to wrap arms with your friends and sway to.
Bad Art: funny little pop-punk riff backs up a dark tune set to upbeat melody. This song is, like
the last one, a little bit rangey and I love it! This is kind of a song that reminds you rain comes
on sunny days sometimes.
Daniel: Feels a little bit referential or archetypal. This adventurous artist is observant and
honest, fiercely self-expressive. A songwriter who isn’t afraid to let their songs range a great
distance and be well-rounded, to end in a different place than they began, and really
demonstrate the importance of staying true to yourself.
Square States: Is this a tongue-in-cheek title? Do we fit into boxes? I like this girl-rock
confessional song. “I am a guide book that he uses in foreign lands.” The artist creates a safe
place where they can debate with themself about relationships - can criticize their lover and
express frustration, and then also . The guitar line has kind of carried through the last few tracks
and comes to a strong point here.
Pusher: Retreats to quiet, reflective. And then the most outspoken. I really like this album for
addressing the difficult nature of treating mental health, of having an impartial person to
prescribe for mental health, but someone who knows you and the reasons as well? “My pusher
has a law degree…” “Whose fault could it really be?” ….. To the point where the person takes a
charge ? Meaning a blame for acquiring prescriptions illegally? I am not sure, but I think this
song is interesting for examining the needs of mental health patients who want to understand
sometimes generational or interpersonal dynamics contributing to their condition.
Rolling Papers: this is my favorite song. “Can I live off what could be?” It really gets
into a smooth, rolling groove and is just so catchy and strong-willed at the same time.
Rikki Rakki - Breaking
Skin
I love this and Sun V. Set for being the most uplifting and fun. To me this album reminds me of
90’s power female driven alt rock and does make it hazy, jangly and stargazy. Body conscious
and meditative, paring and spooling.

Steady Drip- Almost alanis morrisette, almost nursery rhyme, this is just a fab song! A little
forbidding
Cryin’ in the Uber - a little bit psychedelic country gypsy feel, I like how this song has a simple
message that gets slowly introduced
Grey- lots of modern rock feel, and such a signature, edgy vocal sound with a beautiful
backdrop of guitar and a marching beat that submerges the song in a gentle hopeful music.
Pretty, stunning and paints a picture of a strong person. Fighter planes and the ocean , maybe
this drum beat is a little bit of a march. Cranberries and rainfall. This music is a tonic.
Glitch - What a cool theme to work with – so visual and auditory. The way these rock lines
extend themselves to the point of breathlessness, the name of the band. This all feels a little bit
like gritty with the slightest tinge of Hindu or maybe indigenous music? Glitching is kind of like
the unintentional electronic sounds that could potentially sound like what hindu music feels like
when you are introduced to it or try to incorporate it from a modern rock perspective.
Pace- dark, even shoe-gazey venture rock, bitter and outcast. I can really hear this one- the
production feels very authentic, and like everything was recorded together – sounds like a live
experience.
Scarecrow- erratic bells and laboured, restrained breaths - the acoustic guitar and singer
emerge from this scatter so carefully and artfully. Hints of banjo that relate to the otherworldly
and ancient sounds in the intro. Lots of finger sounds - squeaks and echoes . There’s a play on
this album between spooky and soothing. Here, on scarecrow, when the sun rises, she will
swing low. I wonder if these bells and sounds kind of represent night noises and the time before
dawn when the world starts to wake up. All the stick and wood sounding percussion and the
deep, amplified resonance of the guitar submerge us in a growing dark and rustic, truly stargazy
setting. Don’t get caught up in the music and not follow these lyrics to the end of the song,
where the artist pushes this image even further and gets right to the bone of the feeling.
Souls- spooky has got to win! Deep, astrological grinding, the buzz of a sawing grasshopper or
a musical saw or a meditation bowl on a rattling surface. Set into precarious and peculiar
motion, this song “arranged bits of memory of space, a series of moments, serious and
strange,” this singer acknowledges our teeth on this Celtic joyful resolution to the album. Simply,
I still love you. Remembering doodles, looking to the cloud that now contains everything and
doesn’t forget, I do think this album is a tonic for modern social anxieties, and has kind of a
broad perspective on the things we put on the internet - like little thoughts in our middle school
binder margins, the internet is full of our resolutions of self. Don’t worry, we’ve been putting tin
cans to our ears forever! Love still lives. Sometimes I do wonder what the internet will be in the
future. Like, why does all of this stuff exist in a place where everyone can access it? Blogs,
memes, science reports, music… whatever – it’s all so urgent and if we are able to step back,
think about our hopes and dreams for it to help us solve problems and do our work for us – to
help businesses communicate or international leaders or compute, or define everything, or
deliver us our wants and needs, and then there’s all the literature and news and everything!!
Can you imagine a pivot away from this technology, as it's refined and become more useful, to a
less personal, emotional humanistic forum to like a tool that we plug into an even bigger and
more evolved society? Like, everyone said we just have to see Avatar or whatever. Wow, I love
this album and I really think, on some of the songs, it sets its sights on the stars from the middle
of a field at night, and just embraces big, wide open possibilities.