Whose Streets? Our Streets!

Members of the Richmond-based photography collective, the Wild Bunch, answer our call to share their insights and experiences ahead of Norfolk exhibition.

Merriam-Webster defines the word movement in a number of ways, the most apt for our purpose being a series of organized activities working toward an objective, or an organized effort to promote or attain an end. There is much to draw from the definition as it pertains to the events that began to unfold around the country at the end of May, immediately following the barbaric killing of George Floyd at the hands of Minneapolis, MN police officers.* The status quo of unjust treatment towards Black people in the United States was coming into sharp focus in our streets and across our smartphones. The movement towards equality that had already been going on for a long time was suddenly energized in a way we’ve never seen before.

In Richmond, the capital city of Virginia and former capital of the confederacy, what started at the end of May and continues today is being documented in part by a photography collective who call themselves the Wild Bunch. Having witnessed the very good, the bad, and even the ugliest parts of the streets, the Wild Bunch’s exhibition titled “Our Streets” is one of the largest collections of movement photography ever assembled in the state of Virginia. There is much to read about the Wild Bunch and the upcoming “Our Streets” exhibition in this article in the Virginian-Pilot so we at Popscure decided to highlight a couple of their members to discuss the processes, motivations, and lessons learned from their practice. With a Q&A conducted by executive editor Tyler Warnalis, we introduce to you Keshia Eugene and MarQuise Crockett. Read on and be sure to check out “Our Streets” at the Slow Dive Gallery, opening this Friday October 30th. Spoiler alert: the movement is not over.

Keshia Eugene @chocolatekesh

Documenting the chorus of “enough”

Courtesy of Keshia Eugene
First off, could you please tell us about your artistic/photographic background?

I began technical shooting as teenager, with a film camera. Yet as a kid I loved disposable and Polaroid cameras and experienced genuine joy from seeing the photographic results. Since 10th grade having a camera in my purse was hobby that turned habit. So basically what you will see me photograph are reflections of my passions such as live music, candids of hang outs or communal events.

When the protests first started in Richmond, I’d imagine there was something in you that said, “I need to document this.” Could you tell us about that motivation and how you involved yourself? 

Due to science, I didn’t feel comfortable marching in masses, and I have spent many years protesting in different cities. The collections of photos you will see from me will be more of the unfamiliar forms of protest like the teach-ins and the transformation of reclaimed space of Marcus David-Peters Circle— this is important to show. There is such uniqueness to speak or express through art here in Richmond, the former tainted heart of the confederacy, and prominent slave drop-off; it was necessary to document our chorus of “enough”.

Courtesy of Keshia Eugene
While documenting crowds, engaging with people you may not know, and perhaps even putting yourself in tense situations, what sorts of things did you encounter that our readers may or may not have expected?

People are rude. Even if they may be on your side. I’ve seen a lot disrespect towards black women in general during Say Her Name demonstrations. In some cases it did spark some conversation but some people truly don’t seek to understand. Or performative protestors who are doing this for the first time and making it more of a social event and not focusing on the initiative; it’s mad irritating but this is my life and validation so I keep my head straight.

What do you think you learned in the process of photographing the protests that you could share with our readers?

My biggest takeaway is my new lost respect of black leaders in Richmond who allowed police to torment the entire city and instead of engaging in true conversation they played safe for political gain and more conservative relationships. Not sure who they are representing because it’s not the common Richmond resident and it’s like this in too many states and cities.

Courtesy of Keshia Eugene
What do you hope to communicate to the viewer through your photographs?

If you feel uncomfortable in the streets find different ways to share your disapprovals and thoughts for equitable change.

Finally, as a member of the Wild Bunch and a citizen of Richmond, the United States, and the world, what does the title “Our Streets” mean to you?

A reminder that origins of Monument Avenue, which was first set to segregate, will soon be dismantled. Things are going to change our way, in our streets.

Courtesy of Keshia Eugene

MarQuise Crockett @_innervator

A gravitational pull to be on the streets

Courtesy of MarQuise Crockett
Could you tell us about your artistic background? What led you to start using a camera as your preferred means of expression? What sorts of things are you typically photographing?

I was raised by my great grandparents Vernon and Dorothy Crockett who had deep roots in the Baptist church community in Richmond, VA. Not going to church wasn’t an option on Sunday. I first started singing in the youth choir and did it for the majority of my childhood. Then in middle school I was introduced to the lever harp and later graduated to playing the pedal harp in high school, as well as playing the 5th bass in my high school high step marching band. [As far as photography goes] even at a young age I was kind of obsessed with old family albums. I was in love with the idea of having tangible memories. The love came full circle a few years later when I was gifted my first camera, a Canon EOS Rebel t3i. I’ve been learning ever since. I don’t have a preferred thing to shot I just love to create content. However, landscapes were my first love.

When the protests first started in Richmond, I’d imagine there was something in you that said, “I need to document this.” What compelled you to hit the streets with your camera?

I don’t know what made George Floyd’s death different from all the others, but I had a gravitational pull to be on the streets, to let my voice be heard and tell the real stories of what’s happening on the ground. I remember reading a quote “Would you rather be at war with yourself and at peace with the world OR at peace with yourself and at war with the world?” Every time I turn on the TV, or look on social media, or even walking in my everyday life I’m constantly reminded that the world is and has been at war with black and brown people.

Courtesy of MarQuise Crockett
While documenting crowds, engaging with people you may not know, and perhaps even putting yourself in tense situations, what sorts of things did you encounter that our readers may or may not have expected?

Being on the ground for the first time was intense, the air is electric with emotions, the sea of signs and messages, megaphones singing chants, trailing cars blasting “Fuck Donald Trump.” It was a lot to take in, but what I also experienced was a real sense of community. There were so many tents of people in and around the circle. Whether if it was for making free masks, food, medical attention, liberation education, music, and sanitation – the PEOPLE proved that it could provide for its community.

What do you think you may have learned in the process of photographing the protests that you could share with our readers? (This could be either technically related to your photography or on a more humanitarian or societal level)

I’m learning that outside of taking photos and being passionate about my craft and telling important compelling stories through my art form that getting connected to the community and the leaders who have been doing this work is just as important if not more important.

Courtesy of MarQuise Crockett
What do you hope to communicate to the viewer through your photographs?

I want to convey the truth of what really transpired this summer. Its important for people to engage with these images and see what we experienced this summer at the hands of RPD, VSP, VCU PD, and Capitol police, the sense of community, and the fight that is STILL being fought on our street.

Finally, as a member of the Wild Bunch and a citizen of Richmond, the United States, and the world, what does the title “Our Streets” mean to you?

“Our Streets” means another chapter in the struggle for equity and equality – a story as old as the American experience itself.

Courtesy of MarQuise Crockett

“Our Streets” opens to the public on Friday, October 30 at the Slow Dive Gallery in Norfolk, VA and will continue to be on view for several weeks following, both during normal business hours and by appointment. More information on the opening, including the link to RSVP for your specific time slot on Friday or Saturday, can be found here.

*All of this coming mere months after Breonna Taylor was killed in her home by Louisville, KY police and Ahmaud Arbery was pursued and fatally shot by white men while jogging near his home in Brunswick, GA and the list goes on and we should know their names and say them.


In The Midst Of Quarantine, From Overseas Invites Us Home

The solo ambient instrumentalist from a volcanic island releases a stirring album perfect for pause and reflection, which might be what some of us need now more than ever.

From Overseas is the guitar-based experimental project from musician/composer Kévin Séry, who is originally from the French island of Réunion but now resides in Norfolk, Virginia. For having just relocated a few years ago to the Naval port city from which I write, Séry is already woven in to the fabric of the city’s small but mighty music scene, having performed in a number of notable coastal VA bands (Bantustans, Long Division, Death Valley Rally, and currently You’re Jovian). To say that he’s been embraced by the community is an understatement, so it is with much duty and honor that I pick up the pen from our fallen comrade, the great Jeff Hewitt, who had agreed to write this album review before his untimely passing. Out now digitally and on vinyl by way of Past Inside The Present, the debut full-length album by From Overseas is titled Home, and it is to Séry’s island home of Réunion that I go first to understand it.

Located off the eastern coast of Madagascar in the Indian Ocean, Réunion is referred to as a “French department and region of the French Republic”. With a population of just under a million, it operates with nearly the same political status as French metropolitan departments within continental Europe, including electing representatives in French government and members of European Parliament, as well as using the euro for currency. Interesting facts, to be sure, but what really grabs me are the photos. A quick internet flyover reveals postcard landscapes lined with seductive coasts and dramatic waterfalls. The island is home to several volcanoes in various states of activity, the most volatile Piton de la Fournaise having just erupted this past July. I study the colors: darkness in the brooding mountain ranges giving passage to lush greenery while intense flashes of neon orange lava flowing wherever it feels like. I imagine the sounds if these chasms could echo and amplify the eons of underground movements made by the earth’s crust.

With the geographic background of Réunion in mind, it’s not hard to put oneself in these photos while listening to Home. Struck by the reality of not being able to travel anywhere in the near future, this is either the cure or cause for some serious wanderlust. I am hypnotized by the slow and steady build ups that From Overseas lays before me, inviting footsteps down an undiscovered path. “Utopia” takes its time in leading me to its precipice, the crescendo lasting just long enough to briefly forget how I got there. Consistently clocking in around the five-minute mark, each song is its own meditation, with song titles like “Daybreak” and “Astronomer” providing contemplative prompts. Most of the sonic landscape is cultivated by layered guitars drenched in reverb and delay with patches of synthesizers tastefully sprouting throughout. Melodies teeter on the razor’s edge of melancholy and euphoria and sometimes you’re not sure whether you’re moving upwards, downwards, or through something. Mastered by Stephen Mathieu, the album is a stereophonically gratifying flex, recommended by this listener to be enjoyed on the best speakers or headphones you have.

My favorite tracks on the album is the last one, “Erasing Dark”. The song starts slowly and sparsely with a single repeating guitar line, so soft you can hear Sery’s fingers glide up and down his guitar strings. New layers are introduced, a picked riff provides a rhythmic pulse, and in the distance a higher frequency begins its ascent. This could be the soundtrack to your greatest triumph or your deepest fear, but there’s an undeniable feeling of emotion when you let the music rush over you. My mind leaves the island and wanders to far away places and as I’m transported I think about the concept of home. What is home but a comfortable space from which to dream?

Having gone through my own period of fondness for late 90s – early 2000s instrumental rock bands like Mogwai and Godspeed You! Black Emperor, I listen to From Overseas and postulate what drew me to this style of music during that time of my life. As a kid from a small town having moved to a bigger city to attend college, I had jumped headfirst into the deep end of experience. In between my first philosophy classes and college parties, head swirling with a concoction of confusion and possibility, I stayed plugged in to guitar-based instrumental music. It was the soundtrack I used to burn off my old beliefs and blaze new trails of thought. I did not want any lyricists at that time to tell me how to think or feel while I shed the skin of my former self.

Now I find myself in this present moment. The combination of slow-motion panic over the pandemic and the shared responsibility of forced isolation to quell it has brought the world to a point of shifting standards. If you need someone else influencing your thoughts, there’s no shortage of opinions to be found through the screen you’re reading this on. To resist the feeling of drowning in online content, I use Home and other instrumental music as a life preserver. My hope is that whoever’s ears From Overseas music floats into, they give it enough time to find a place in the vast cosmos of the mind to settle for a moment of introspection. My recommendation is do not read the news to it, do not scroll down your feed to it, do not swipe over blips of social advertising to it. Allow yourself the comfortable space to dream.

Home is out now from Past Inside the Present, label and resource for the ambient listener. If you enjoy listening to From Overseas and music like his, we encourage you to discover similar artists from the PITP catalog. To read more about From Overseas from the aforementioned music journalist Jeff Hewitt, here is a live show review with photos from his blog, The Antonym. RIP Jeff

Discovering How to Be Human with Suburban Living

Ahead of their upcoming show together in Norfolk, Popscure contributor Elliott Malvas took some time out to interview his bestie, Wesley Bunch, founder and bandleader of the Philadelphia dream pop band.

Having grown up together in Virginia Beach [a small enough town where everyone who listens to a certain type of music naturally coalesces], Wes and I have been best friends forever. I remember the day he started writing songs as Suburban Living some time in the early 2010s. He has since moved to Philly and his band has seen various personnel changes, the current lineup backed by Michael Cammarata, Peter Pantina, and Chris Radwanski being the longest-running and most consistent. With a brand new single out, an album release on the horizon, and a slew of tour dates ahead of them, we’re sure to hear some new tunes as well as old favorites. Having listened to the upcoming LP [along with every other Suburban Living release heretofore], I can confidently say it may be their best yet.

I have fond memories playing with Wes in different bands or just kicking back with my main homie, but I tried taking an unbiased perspective as I asked him about his latest work. It was difficult and a little odd, to say the least, but I hope you enjoy this unique inside look into Suburban Living. We’ll see you all at the gig this Wednesday with my band, You’re Jovian, and new wave revivalist duo, Korine.

Suburban Living has had a long history. When do you consider the start of Suburban Living? Do you start counting from the first few demos or first shows?

I guess I’d consider the summer of 2012 the start of it. I was living in Ghent, and although I had some songs recorded under the name Suburban Living, I didn’t take it seriously. Once one of my songs got published on a reputable blog, I knew I wanted to start assembling a live band and try and take the project as far as possible.

Suburban Living has been a blue collar effort from the start. Do you think people around you know how much effort you put into your band? I think sometimes it’s hard for people on the internet to see this.

I think so. I try and not think about it too much. I’m a workaholic when it comes to my band, and sometimes that works for me and sometimes it works against me. I think in the past couple [of] years, I’ve been able to find a balance of not overwhelming myself with the project. Coincidentally, my friends and my partner helped me find that balance.

Speaking of band, you have quite a band behind you. At what point were you content on them writing parts and recording in the studio with you?

I love my dudes. I knew about six months into us playing shows together that they were in it for the long haul and understood the music. It’s been a blast carving the songs with them. It’s also been fun trying to write songs for them, or certain parts [that] I know [will] gel well with how they play their instruments.

What’s been your process as of late for writing and tracking demos? What rate do you write new songs, and are there any songs that kinda get lost and never fully come to fruition?

It hasn’t changed much. Usually, I just sit down with my guitar and synthesizer and just try and come up with stuff. If nothing comes about, I’ll take a 30 minute break and eat some food or go for a walk. I’ll come back to it later. If something does click, I play it over and over and over again until the natural movement of the song comes to me. When I’m in a big writing fury, and stuff is clicking, I’ll sometimes go weeks without listening to anything besides my unfinished demos. I took this process really seriously when writing [songs from the new album] How To Be Human and found myself really out of touch with current music and releases, which was different for me. As a music lover, I try my best to listen to new bands that are up and coming.

How long does it take roughly for you to start a song and finish it from its initial inception?

I guess it depends. Some of my favorite songs I’ve written were finished in only a couple hours. Some took me days to finish. A lot of the How To Be Human songs took forever to finish because the structure of the songs were out of my comfort zone. I tried my best to branch out of the intro/verse/chorus/verse/bridge/chorus pop structure on this one, which was tough for me.

Suburban Living’s upcoming full-length album titled How To Be Human comes out on 5/22 via EggHunt Records
The new record coming out sounds really promising. What are you hoping to get out of this release, and what are your expectations for the record?

I try not to have super high expectations, but I’d love for the album to reach as many ears as it can. Having it come out on vinyl is a huge accomplishment, and we’re psyched to finally see the records.

How did the deal come about to sign to EggHunt Records? Because just before this you were on 6131, who are also based out of Richmond. Any bad blood?

Nah, just the way the wind blew I suppose. We were talking with EggHunt years ago before we signed with 6131, so we had always stayed in touch with them. I’m psyched to still be working with a VA label since that’s my home state, and I love RVA.

The new record is legitimately the best work you’ve done by far. This is on all fronts. Song structure, recording, production, PR, etc. What would you attribute to this?

Thank you!! I really put my head down in the writing process. It was the most determined I’d ever felt, and it helped that I was consistently playing tours between Suburban Living and filling in for Swirlies. I felt like my mind was always wrapped [around] writing and performing music, which made me push myself harder in the songwriting process.

Any interest in releasing Suburban Living demos and B-sides? I love that kinda shit.

I actually wanted to do this for our last album, but the idea got canned. I love that kinda shit too and would be open to it. Maybe on a tape or something? I feel like that’s the perfect platform for my demos.

What’s Suburban Living’s long term goals and aspirations? On an indie level, I feel like you all can go head to head with the best. What is it going to take to get to a national audience and get to that next level? Does this even concern you?

Ha, if I had the answers I’d be there I suppose. Like most bands, I just want the music to be listened to and the opportunity to play the most live shows we can. I try and take a step back at any moment I can and just be thankful for where the project is. Sounds corny, but being in a band has extreme highs and extreme lows. Sometimes it’s easier to crack a beer and laugh when you’re in the lows. I’d be lying if I told you I wasn’t ever frustrated though. Life moves on, it’s not going to stop for you and make your band successful for you.

How do you balance personal goals within the band vs. the goals of your bandmates? Is everyone on the same page if things change and really take off?

Definitely. This is all what we want to do with out lives, and since I’ve been out on my own I’ve designed my life for this lifestyle.

Last question. Since moving to Philadelphia and being embedded in the culture up there, how do you feel about the south on a political and cultural front? When you visit home, do you notice a big difference between people and how they interact, etc.?

It’s different, but not as different as a lot of people would think I feel like. Honestly, it’s been crazier seeing how much more HRVA has turned more liberal and progressive every time I visit, which is awesome. It’s never a shock at how hyper conservative the south is though. Being on tour and seeing so many different cultures, I try and just keep my head down and focus on getting to the venue without dying, haha. We do get some stares at some gas stations though, that’s always fun.

Bonus – favorite venue in Philly?

Johnny Brenda’s, hands down. There’s a reason why so many people say its the best. Cause it is ; )

Find full event info on Suburban Living’s Facebook

Thank you to Wesley Bunch and Suburban Living for the opportunity to conduct this interview. We’ll see you at Chicho’s Backstage in Norfolk, VA on Wednesday, March 11th. Photos were taken by Kelly Cammarata and come courtesy of the band.

LEYA Sheds Light on a Sort of Beauty

The NYC experimental music duo talk community and connections in a thoughtful Q&A with our managing editor, Jasmine Rodriguez right before their debut album release and Norfolk gig this Friday.

Described accurately as “transcendental punk”, Marilu Donovan and Adam Markiewicz use detuned harp and violin + vocals respectively to create ethereal sounds that evoke a tangible chasm of emotion. Their debut full-length album Flood Dream drops this Friday 3/6 via experimental label NNA Tapes and they’ve got their hometown album release show tonight at a DIY venue in NYC before embarking on a two-month tour taking them down the east coast en route to SXSW and through the Midwest and Canada. I’ll be checking back in with them this Friday when they play Taphouse with Community Witch, Dysphonia, and VV, but first I wanted to get to know them a bit more…

I’ve read that you all aim to show that there’s more than meets the eye with the musical instruments you play – in this case, the harp and the violin. The sounds emitted aren’t what many would consider beautiful by standard, but in a way the dissonance and harshness do reveal a sort of beauty that people tend to look away from. Would you say that’s a perspective you all try to show?

Marilu: Of course! Unconventional beauty is far more interesting to me. I grew up playing the harp, and I’m tired of it being thought of as an instrument that can only sound “pretty” – that idea is boring.

Adam: “A sort of beauty people tend to look away from” is pretty nail on the head. We deal in a lot of non-traditional…but intense…beauty: a strange harmony that is held so long it becomes all-encompassing, the vibrations of detuned harp strings filling your entire body, the general vibe of sound over notes while still working within a pretty fixed musical frame.

Your music conjures up a vast spectrum of emotion. Do you have to be in a certain mindset when creating the music you make? Is there a specific feeling you all set out to express, or does it all come together organically?

Marilu: I don’t think we specifically set out to create sad music, it just kind of happens that way – at least so far… For me, whenever I am creating, it’s so difficult to start the process in a “certain mindset.” Some days creativity pours out, and some days it doesn’t.

Adam: Playing and writing with Marilu is organic and natural. Despite all the work…we’re not thinking about it that hard, y’know?

Did you all find it hard at first, trying to get others to see your vision? Or does living in NYC make it easier?

Marilu: Living in NYC makes doing most things “outside the box” easier – definitely. I think we’re still trying really hard to get others to see our vision, but thankfully each year it gets easier.

Adam: Honestly, our community here has always been very supportive. I think the decision to dive so seriously into this over the last couple years was partially driven by the cohesiveness we immediately felt with an audience of our friends when we first started. Our peers/friends/chosen family have been part of the connection to every moment of growth for LEYA. I like to think of everyone being together in this and all of it. I’m honestly surprised when people allude to the music being hard to access – it’s actually meant to be very easy to feel and understand.

Your music seems to be the perfect compliment to a performance art piece or visual installation. I’d say your music videos for “Wave” “Sister” and “INTP” each possess their own cinematic quality to them. Have you all considered pairing your music to any other visual (or other sensory) aspects in the future?

Adam: We’re open to many things and will definitely move into new territory. “Sister” was done so beautifully by our dear friend/muse/director Kathleen Dycaico that we were sort of propelled into this dreamy visual world – working with Brooke Candy and PornHub on “I Love You” and scoring amazing animations by Jennifer May Reiland. It’s all been pretty amazing when we’ve worked with moving images. Obviously we want to score your next film – hit us up!

Marilu: I am super into the idea of working on more film scoring, and with live dancers. For sure – get at us!

Your new album, Flood Dream, will be released Friday (3/6). How was that process following the years after your debut with The Fool? Are there any new elements that you brought to the table this time around? How has the creative process changed or stayed the same?

Marilu: I would say the creative process is still very much the same between Adam and I. We really are just exploring and figuring out what we like and what works. We are constantly growing, and constantly massaging the music – really figuring out what sounds best to our ears.

Adam: While we have always stayed true to our specific sort of sound, this is definitely a new kind of record in a couple ways. We set out to write songs in a way that we hadn’t before – simpler and more transparent in terms of their role as just being songs, not these dense slabs, or pieces. We wrote most of them while on the road for three months January – March of 2019 and then three are adapted from earlier versions in the “I Love You” score. We continue to hone our process, but it’s basically the same as always – Marilu and I sitting in a room, working it out piece by piece, starting with the harp. There are some guests on this record – GABI sings on ‘Weight’ and our friends John and Tristan lend some flute, synth, and upright help lightly on two songs – but mostly it is a departure from the collaborative zones we’ve traversed lately. It has one thread and tries to a tell a story, whatever that means to you.

How did you all come across NNA Tapes? What drew you to the label?

Adam: Toby Aaronson, the original Co-Founder with Matt Mayer, is a friend of mine via the New England DIY scene. When we first started recording I reached out to him. I’ve always admired their work and catalog – so vital in its crystallizing of the experimental zone in the late 2000-oughts.

Marilu: Ya! NNA are old homies – they rule.

Cover art for LEYA’s debut full-length album Flood Dream
What does a live set-up typically look like and how do these songs translate live? Is crowd reception/connection a factor that you keep in mind when performing?

Marilu: Most of these songs sound pretty much the same live as they do on our recordings. I read something one time when we first started out that described us as “harp, violin, and electronics” and I was both like wondering what they thought were the electronic elements, and also like I don’t know how to work electronics! Crowd connection is so important to both of us. Both during and after the set – come say hi to us! Be our friends.

Adam: Our shows are intense and intimate and the audience is half of that, at least. My favorite part of LEYA is playing it live!

I know this phrase I am about to use is so vague and relative, but do you all feel like you fit in a “music scene?” This may be helpful to other musicians reading this who make music in non-traditional ways.

Adam: We like to live in many scenes because many “scenes” are happening in their own way, but ultimately we came up through DIY culture and tend to play with bands that exist in that world. We play with punk bands, mostly, but you might also catch us at fancier spot every now and again.

Marilu: Ya – I agree with Adam. The DIY scene has been very supportive of us. But, people interpret LEYA in so many different ways; a friend of ours likes to describe LEYA as a hardcore band.

Photo by LAZAR courtesy of NNA Tapes
What would you say to those that think your sound is too “high-brow” or “high-art” for them?

Adam: We don’t like pretentious shit really, so we’d probably get along. They should just come to the show, though – it’s not a complex vibe.

Marilu: lol – truly we’re so scrappy!

Lastly, what does music, in it’s purest form, mean to you?

Marilu: emotion

Adam: Absolutely everything.

See more details on all these events via Facebook.

Thank you to LEYA and NNA Tapes for the opportunity to conduct this interview. The featured photo at the top of the article was shot by Serge Serum and comes courtesy of NNA Tapes. See you at the Norfolk Taphouse on Friday, March 6th.

Lovelorn Returns With New Sounds, New Tour

Philly electronic duo answer questions from Popscure correspondent Elliott Malvas of You’re Jovian as they embark on spring jaunt to SXSW.

I first met Anna and Patrick back in 2015 at The Ottobar in Baltimore, Maryland. Their band at the time, Creepoid, was opening for Swirlies; we were doing 3 shows together. During that time, I was able to get to know them a bit and establish a connection. Familiar faces in unfamiliar places. In 2016 I was able to get Creepoid to come to VB and play with You’re Jovian. Shortly thereafter, Creepoid would announce they were breaking up, and from those ashes, Anna and Pat formed Lovelorn.

Over the past few years, you might’ve caught Lovelorn in Norfolk at Toast or Charlie’s. Now they’re playing in Richmond at Wonderland with True Body on Sunday, March 1st and then in Norfolk at Taphouse on Monday, March 2nd with buds, Arms Bizarre. They also just released a new single that demonstrates the band departing from the previous sound of their former band. If you’re a fan of darkwave, post-punk indie rock goodness, then you don’t wanna sleep on this. I recently caught up with Anna and Patrick and asked them some questions, enjoy!

How soon was it before you and Pat decided to start another band coming out of the fallout of Creepoid?

Patrick, Pete, and I started casually playing together about six months after Creepoid ended. Patrick and I had just moved into a new house, with a practice space, and I think it was this shift away from where Creepoid had played that helped initiate things. It wasn’t until about two months after that we really started thinking of it as a ‘band’ and writing songs.

You already had great rapport with fans, promoters, and venues through Creepoid. Was it pretty easy to build Lovelorn and get started because of this?

It really wasn’t super easy. Lovelorn is a completely different project, and we had to start over in lots of ways. Although we had some carry-over fans from Creepoid, we’ve had to put the work in to build up that base with Lovelorn. Once we have an album out, hopefully, it will get easier.

When did the music for Lovelorn start to take shape? Because it seemed like a seamless transition. To me, you all already had songs and a tour booked with what felt like a week after Creepoid disbanded. Of course I’m exaggerating, but still…it was quick.

It *seemed* quick, but that was only because Creepoid had ended long before we announced the final show. It was during that in-between time that Lovelorn formed, but we decided not to announce the new project until after our final Creepoid show.

Creepoid, to me, was a darker sludgier shoegaze band, whereas Lovelorn kinda had that to start but now has started exploring more of this European type house trance music mixed with some post-punk goth vibes. Is this a fair assessment or way to describe Lovelorn to someone who’s never heard of you all?

I would say…yes, fair. But I often describe Lovelorn as what James Murphy would sound like if he grew up in Philly and had to sweat his rent every month : ) We definitely took some time to shake off the familiar, but I think [ ] we’ve fully embraced being whatever Lovelorn is, as opposed to following old habits.

Anna, what was the initial transition like going from a bass player/singer with a live/organic band behind you to now being front and center with backing tracks providing the music? One might say that backing tracks, as reliable as they are, can lack drive and liveliness versus a band which can provide a lot of energy and be somewhat different night to night. Which do you prefer? It seems like you’ve fully embraced being the front person of Lovelorn.

I always thought of myself more of a performer than a ‘bass player’ or ‘singer.’ So, it’s easy to transition to a position that relies more heavily on being performative all the time. It was harder to transition to playing to a track for sure! Creepoid was always more…let’s say…organic in how songs were played night to night. But, I wouldn’t say that our set up lacks any drive or liveliness at all. Patrick and I each do things that allow us to be flexible and creative within the structure, and that’s important to us.

You all always use the hashtag #bringweed. How often do people actually bring weed, and do you all actually smoke strangers’ weed?

Necessity is the mother of invention, and when you tour the way Creepoid did, we needed weed in a different city every night lol. We started using it in 2015, and I would venture to say there have been very few shows we played since then that people have *not* brought weed…along with other treats. No one is a stranger once they share drugs with you.

Between Creepoid and Lovelorn, have there been any close encounters with the police on the road, especially when traveling with so much weed?

Don’t want to say too much here…but yeah, please kids…don’t drive with a lot of drugs.

You all are coming through en route to SXSW. Is SXSW still worth it for independent bands? It seems that indie bands put a lot of emphasis into SXSW and front a lot of money just to get out there and play 2 showcases. Is the greater idea of SXSW dead? What should younger or less seasoned indie bands expect from playing at SXSW?

Yes and No. I mean, if you go into SXSW thinking this is going to be your big break and catapult you into instant fame and success…then you are going to be disappointed for sure. But, if you go into it thinking you’re gonna see your friends/peers, eat some good food and play some good shows, you’re going to enjoy it much more. Creepoid definitely benefited greatly from playing SXSW, but it often took months to years for those benefits to be realized. So, just have fun, be patient, and tour as much as you possib[ly] can.

Any showcase(s) you’re looking most forward to?

The showcase of breakfast I’m going to eat at Bouldin Creek every morning ❤

Pat, I heard a rumor that someone once punched you in the face in Texas because they thought you were Nicky from Nothing. Did this actually happen?

Can confirm this did happen, but in Brooklyn.

Pat, you set up shows in Philly. As someone who plays in a touring indie band and books bands, what is your biggest pet peeve that other bands do when trying to book through you? Also, has lessons learned throughout show booking helped you personally book Lovelorn shows?

I’ve been booking shows for 15 plus years, so I have lots of pet peeves. [The] biggest has to be bands that aren’t willing to do their own promotion and expect the venue to do everything. It’s a team effort. I also get a real kick out of bands that complain to me about parking. My job absolutely helps me to book my own projects. I know the email etiquette (keep it short, be specific, and include a link (not 10)). I’m down to do whatever I can to make the promoter’s job easier – internal promotion, researching local bands, etc.

In 2015, Creepoid played 3 shows with Swirlies starting at Ottobar in Baltimore. How did that come to fruition? What do you remember from those short run of shows together?

Our booking agent at the time set that one up. 2 memories come to mind – the first is Sean Miller teaching them how to set up their pedalboards, which they bought on that tour. Second, the last night of that tour was in Chapel Hill, North Carolina, and we totally slayed. Really great set. Finished out the night partying with homies we have there. Very late/early morning, we got the notification of our long-awaited Pitchfork review of Cemetery High Rise Slum, and they TRASHED it. I remember thinking, “I’m glad we’re all real fucked up, or this would be a big bummer.”

Lovelorn has an interesting set up for only being a two-piece. Do sound people give you any flack for the way you go about your set up? I personally like that you keep the ability to mix the backing tracks up to you, the band, and not the venue sound person.

Sound people are actually usually pretty stoked on our set up. Every now and then, we’ve had a real square that’s just totally confused that we don’t have a guitar player, but the professionals are chill. I think they appreciate that we understand our equipment and are trying to have as much control over it [as] we can.

Favorite Norfolk, Virginia memory (even though you’ve played Virginia Beach before)?


Philly is quite honestly one of the best cities. If you had to live anywhere else in the country and base Lovelorn out of it, where would that be?

Philly is the best city for sure. Nowhere else really feels like home. But we also love LA and Austin. [] If we move anytime in the near future, it would be to either of these cities.

Last question. I myself am a NASCAR fan. I often feel at odds with myself for being a musician and a sports fan. I feel that I get cast into this imaginary shoegaze culture of adoring all things beauty and being constantly artistic. It’s almost like this constant push and pull of being a jock and a musician. Some people don’t take me as serious for enjoying my sport of choice…I know that both of you are Eagles fans. I feel that in the indie scene, it’s almost a joke to some people to be an avid sports fan but also be a musician–especially to all the art kids out there. How do you feel about this? You notice it too?

I think that it’s less of an issue here in Philly because our sports teams are so pervasive in all parts of our culture–including music. Have you seen Silver Linings Playbook lol? In the Philly music scene, tons of musicians rep their team, whether that be Sixers, Eagles, whatever. That being said, I do know [a] ton of people that absolutely are not into sports and people into sports that aren’t into music–but not really too much animosity between the two worlds. What’s more of an *issue* is when you tour with a band from another city that’s equally passionate about their team…especially during football season : )

Go listen to the brand new Lovelorn single, “Around You,” and check them out on their spring tour, see dates below.

February 29th – Philadelphia, PA @ Ortliebs’s *with Night Sins

March 1st – Richmond, VA @ Wonderland RVA *with Night Sins

March 2nd – Norfolk, VA @ The Taphouse Grill

March 3rd – Raleigh, NC @ Slim’s Downtown

March 4th – Charlotte, NC @ The Milestone Club

March 5th – Atlanta, GA @ The EARL

March 6th – Savannah, GA @ The Sentient Bean

March 7th – Gainesville, FL @ The Atlantic +

March 8th – Miami, FL @ Gramps +

March 9th – Lake Worth, FL @ Propaganda Lake Worth +

March 11th – Saint Petersburg, FL @ The Bends +

March 12th – Tallahassee, FL @ The Bark +

March 13th – Pensacola, FL @ Night Moves Pensacola +

March 14th – New Orleans, LA @ Santos Bar

March 15th – Houston, TX @ Rudyards

March 16th – March 21st – SXSW

March 20th – Austin, TX @ The Velveeta Room

March 22nd – Dallas, TX @ Three Links

March 24th – Tulsa, OK @ The Whittier Bar

March 25th – Lawrence, KS @ Replay Lounge

March 26th – Omaha, NE @ Reverb Lounge

March 27th – Milwaukee, WI @ Club Garibaldi’s

March 28th – Chicago, IL @ Situations

March 29th – Grand Rapids, MI @ Fulton Street Pub & Grill

March 30th – Canton, OH @ Buzzbin Art & Music Shop

March 31st – Columbus, OH @ Ace of Cups

April 1st – Harrisonburg, VA @ The Golden Pony

*with Night Sins

+with Planet Loser

Remembering Katherine Johnson and Others In Shetterly’s Hidden Figures

This week we lost Katherine Johnson, the NASA mathematician who was an integral part of the United States race to space. Her calculations were so spot-on that astronaut John Glenn requested she double-check behind the NASA computers to make sure all the math was correct. In her 35-year career, she broke down racial and social barriers as she was one of the first African-American women to work as a NASA scientist. After receiving both a Presidential Medal of Freedom and Congressional Gold Medal, Johnson lived a long hardy life to the age of 101.

With her contributions so carefully immortalized in the book Hidden Figures, we figured (no pun intended) that it would only make sense if we shared a piece that our editor-in-chief Shannon Jay wrote back in 2016 when the book’s author Margot Lee Shetterly came to speak at Old Dominion University in conjunction with the release of the Oscar-nominated film based on her book. For anyone who has not read the book or seen the film, we can’t recommend it enough and urge you to seek it out.

“We are the breath of our ancestors” rang the harmonized voices of Old Dominion’s choir, an appropriate sentiment for the events unfolding the night of January 11th.

The song “We Are”, by acclaimed all female, all African-American acapella group Sweet Honey in the Rock, encompassed the themes explored in the university’s 33rd Annual Martin Luther King Jr. Day Observance.

The main event was speaker Margot Lee Shetterly — if you don’t recognize the Hampton, VA native by name, the title of her first novel, Hidden Figures might ring a bell. The best-seller was turned into a feature-length film and hit theaters in a big way, beating out Star Wars for the #1 spot at the box office in its first week.

The story follows four women, two of which received honorary degrees from ODU. During the years of 1943 through 1968, Katherine Johnson, Mary Jackson, Dorothy Vaughan and Christine Darden worked with other black female mathematicians at NASA Langley in a segregated room. With only pen and paper, these women computed through World War II and went on to calculate the trajectories that would orbit John Glenn around Earth and send Neil Armstrong to the moon.

Coming from no farther than West Virginia, these four extraordinary women are woven in the fabric of our state’s history. “This is a celebration of this place and its people,” Shetterly said. “We have always known this region is a place of fascinating and often complicated history, but now the world knows it, too.”

During a time when segregation was still heavily prevalent and women couldn’t even get a credit card in their own name, “the women of Hidden Figures upend [what it means to] be female, to be black, to be a scientist, and to be American,” Shetterly said.

Mary Jackson had to apply for special permission at Hampton High School to take advanced math classes, and went on to become presumably the country’s first black female aerospace engineer. Katherine Johnson was born in 1918, a birth year where black baby girls faced just a 2% chance of graduating high school. She calculated the orbital space flight that allowed John Glenn to achieve “American domination of the heavens” during the Space Race. Christine Darden, from a segregated grade school with second hand textbooks and no science lab, wrote the computer program that set the industry standard for sonic boom minimization, and became NASA’s leading expert on the topic.

While the night focused on King’s ideals to improve the lives of African-Americans, and how those same values are applied to women, Shetterly wanted to make clear these women “wanted to be what John Glenn says in the movie — the ‘smart one,’ [just] the right person for the job.” She emphasized that the women of the Hidden Figures story needs to be told “not just because they are black or because they are women, but because they too are part of our great American epic.”

Image courtesy of NASA

In the shadows instead of out on the streets, Shetterly said, these women were “marching not with their feet, but with their mathematical talent” for racial and gender equality. There’s an added layer of nobility with this particular group’s civil rights work, having faced dehumanizing segregation at work daily. However, Shetterly said, “they wore their professional clothes like armor, [and] they wielded their mathematical talent like a weapon, warding off the presumption of inferiority because they were black or female.”

Shetterly’s father worked alongside these women at NASA, and the author only heard their story when her husband, Aran Shetterly, inquired about her father’s time there. That was 6 years ago, and ever since Margot Lee Shetterly has interviewed the women and spent time with their families to uncover the untold story. Their amazing achievements inspired her to found The Human Computer Project, which works to archive all the stories of African-American women who worked as computer scientists and mathematicians at the height of NASA that history has skimmed past.

The Human Computer Project aims to collect and highlight the contributions of women to NASA and NACA throughout the years.

The women of “Hidden Figures” felt the weight of the responsibilities the ODU choir hummed and Sweet Honey in the Rock chanted. “They knew,” Shetterly said, “that every action they took over the course of their long careers would have implications for the next generation of people who looked like them.” Along with being great at their job, Shetterly said, these women and their colleagues were out to prove “that excellence has neither color nor gender.”

When an audience member asked if the film would have a sequel, Shetterly responded that it won’t be a direct second act, but she’s working on another book, and hopes for a long career in telling stories untold.

From Shannon Jay: “Johnson was there that day, and even then I realized how special it was to share a room with history – a woman whose achievements were monumental and so important not only to black women, but to all of America. Now, with her passing, it’s a moment I’ll hold even more dear.

Katherine Johnson 8/26/1918 – 2/24/2020

Shormey and Alfred. Announce Spring Tour, SXSW Appearances

Two Virginia artists hit the road in March en route to Austin, TX music festival mecca.

From the nation’s capital to the edge of Texas and back again, Shormey and Alfred. will each bring their unique sounds to audiences far and wide. The tour has them returning to many places they have already been before, but this will be each of their first times performing in Florida (March 6-9th)! This will be Shormey’s 2nd appearance at SXSW and her first as an official artist and Alfred.’s 3rd time at SXSW and their 2nd time as an official artist. See all the dates below after checking out their tunes. And if you see a city you know friends in, best give them a heads up that they have a chance to catch some of Virginia’s top-notch talent in their hometown this coming spring.

Shormey (Pop, R & B)

Alfred. (Hip-Hop, Neo Soul)

March 3rd – Washington, DC @ Songbyrd *with Mind Shrine

March 4th – Richmond, VA @ The Camel *with Mind Shrine 

March 5th – Chapel Hill, NC @ Shirley Temple + 

March 6th – St. Petersburg, FL @ The Flytrap + 

March 7th – Orlando, FL @ Couples Coop + 

March 8th – St. Augustine, FL @ Sarbez +  

March 9th – Miami, FL @ Fuzzybaby +  

March 11th – Athens, GA @ The Pitbull Manor + 

March 12th – Atlanta, GA @ Murmur + 

March 13th – New Orleans, La @ Banks Bar + 

March 14th – Houston, TX @ Satellite Bar + 

March 15th – March 21st – Austin TX @ SXSW

March 17th – Laredo, TX @ Cultura Beer Garden + 

March 20th – Denton, TX @ Rubber Gloves Rehearsal Studio % shormey only 

March 25th – Charleston, SC @ House Show + 

March 26th – Raleigh, NC @ Transfer Co. Ballroom +

March 27th – Asheville, NC @ Margaritaville +  

March 28th – Harrisonburg, VA @ Easy Greasy + 

* with Mind Shrine

^ shormey only 

+ with Alfred

Gettin Real With Fake

Popscure writer Jerome Spencer sat down with Fake Uzumi to hear how it all came to be.

The Fake Uzumi Story, like any good success story, starts with Lil Bow Wow.

“That was the coolest shit ever,” Uzumi tells me about Bow Wow, “Just seeing a kid who was rapping about kid stuff that blew up. I was like ‘man, I wish i had a Mickey Mouse chain’. So my first motivation was… yeah, probably Lil Bow Wow.”

Alright, that’s less weird when you know that Uzumi started rapping at the age of 11. Which is what got him into production. As a matter of fact, it seems like Uzumi does a lot of what he does out of necessity.

“I do a multitude of things,” he says, “I DJ, I’m an artist, I produce, I curate. Basically, I only started making beats because i wanted to rap at like 11 or 12 and I couldn’t afford beats at the time so i was like ‘hey, I’m gonna do it myself’. I started making beats and all of them were really garbage so I gave it up for a couple of years then I tried it again. I started getting really good at it so I stuck with it. I started graphic designing because I couldn’t find anyone who could make cover art for me. I kinda became like a DIY type of person. I started going to parties around here and I didnt like a lot of the DJs. There were a certain few that i liked and one of them was Gabe Niles. And he introduced me to DJing and put me on my first stage. That’s how I got started with DJing and everything. That’s the gist of it.”

So that’s the gist of it. And my job as a journalist would be so much easier if there weren’t any more to it than that. Fake Uzumi, however, didn’t come out of nowhere. Sure, we’re so used to him DJing almost every party worth attending and producing some of the most adventurous projects in Virginia that it seems like he’s always been around, but he had to start somewhere, right? And that’s where Lil Bow Wow comes in.

Photo by Malik Emmanuel | @forevasuave

Now, honesty, I didn’t know about Fake Uzumi’s alter-ego, Shaded Zu, until pretty recently (“Fake Uzumi doesn’t do any talking so Shaded Zu in the mouthpiece,” he explains, “But they work simultaneously.”) and that’s because rapping took a backseat to production and DJing for a while. 

“I stopped rapping because I wanted to focus more on the production side of things,” Uzumi admits, “I produced a lot for Opal. At first, I was just trying to stay in Opal’s creative energy and feed her what I could offer and then I just decided that I wanted to work with EVERYBODY. I can’t limit myself to staying with one person so I started working with as many people as I could.

“I’m just really trying to take the Neptunes strategy,” he continues, “I can make my own stuff but I really want to reach out and work with the people in the area and give them a piece of my sound. I get a lot of people out of their comfort zone and  a lot of the time it works. They’re kind of timid at first, but once it drops they get that good reaction.”

When pressed about his “sound”, Uzumi is reluctant to put himself into a box or declare himself a torch-bearer of the Virginia style, though.

“I think our sound isn’t like a genre; it’s just dope shit,” he offers, “As far as me carrying on that torch, i just make what I like and what I like is influenced by what these people made 10 or 15 years ago. I’m just making stuff that feels good. It feels good to me and a lot of times it feels good to other people from Virginia because they can feel that influence, too.”

“It’s really what comes out of me and what I’m feeling at that moment. A lot of the soundscapes or choices that I’m influenced by come from my parents’ choice in music; hearing a lot of neo-soul, 80s and 70s soul and even 60s music.. When i was living with my grandma she would listen to Al Green and Marvin Gaye and I started learning more about chords. Or at least things that could make me feel a certain way; what chords could transport me to a certain place. That’s really where my inspiration comes from with that chill bounce.”

Photo by Malik Emmanuel | @forevasuave

“Chill Bounce” really is an apt way to describe Fake Uzumi’s sound. He brings the Saturday night vibes without too much expectation and just kinda lets the party come to him. This is why DJing seemed like a natural progression for the producer.

“I told Gabe (Niles) I wanted to start DJing and asked him to help me,” Uzumi explains, “He was like ‘bro, bring your laptop, get on stage and do it’ and I said ‘ok, bet’. So I went up there (The Parlor on Granby) and I didn’t know how to DJ from shit. I would just play one song, abruptly stop it and go to the next song and the people really didn’t care, they just loved what I was playing.”

(I love this story because it posits that passion and drive are all you really need and fancy equipment and/or proper training are just icing on the cake. And it gets even better, but I’ll let him tell it…)

“Then I went to an afterparty at Alchemy and the guy who owned Work Release, Charles Rasputin, was playing from his Pandora. I asked if I could plug my phone in and play some stuff from Soundcloud. Everybody started having a good time and he was like “I’m opening a spot in a month and I want you to be a resident DJ”. I was like i don’t really know how to DJ and he was like ‘it doesn’t matter, you know how to get people moving’. I learned how to DJ on stage. I was using other people’s equipment and I would learn on the fly. Then I got my own equipment and kinda got a lot better.”

Isn’t that some beautiful shit? My man just wanted to DJ parties so he did and he became a resident DJ at Norfolk’s dopest spot (RIP, Work Release) on his first night. And we all know how that worked out for him; Fake Uzumi is a busy man and he’s guaranteed to rock a party every time. And when things are going well, naturally, you keep the creativity flowing. And, if you’re Uzumi, that means rapping.

“Somewhere along the way, probably around 2017 or 2018,” he says,”I got really inspired again and started recording like a madman and i’ve just been on it ever since. I stopped rapping because I wasn’t inspired, or moreso, out of fear; I didn’t know how it would translate or how I should start my songs or what my songs should even be about. Should I stick to having fun or should my songs be more conscious? Then I just thought forget all that, I’m just going to make things that I like.”
The cumulative result of things that Uzumi liked came in the form of 2019’s Xtra-Large, Shaded Zu’s most ambitious offering to date.

“It was a year in the making,” Uzumi explains (or maybe Shaded Zu is talking now; I never asked), “There’s two sides to the story. One side is that I just felt like people weren’t being as collaborative as I think we could be. In Virginia we have so many talented people but I felt like everybody was out for self. I just wanted to create something really dope but include all the people that I’m really fans of that might not normally do something on this type of beat or might not perform this way. I wanted to get everybody out of their comfort zone, but we’d still meet in the middle. And the second half is that, as a kid, I always thought I would be in The 27 Club, like narcissistically. I was 27 during the making of the project so I needed to make something that, if I were to die within that year – I believe in reincarnation so wanted to make something powerful enough that my next life or next being would love it. I focused really hard on making something really great just to feed that, I guess it’s ego.”

Shaded Zu “Xtra-Large” is available to stream everywhere, get on it!

Xtra-Large really is a collaborative effort. With at least one feature on eight of it’s ten songs, it showcases much more talent than just Uzumi’s distinct production style (that Chill Bounce, in case you forgot).

“A lot of those collaborations kinda happened by accident,” Uzumi says, “The one with Sunny (Moonshine) – I sampled her voice from a song we did back in 2013 that we never released. But I didn’t wanna put it out without her consent. So I sent it to her to get her feedback and she literally sent it back the next day with her verse on the end of it. It was perfect. I didn’t wanna ask for a verse and put her on the spot, but she just did it off top and made it perfect.”

And Xtra-Large feels as spontaneously perfect as Sunny’s bars. No offense to Fake Uzumi, though; I’m sure he had to grind meticulously on the production end to make this project feel so free and uninhibited. It’s the kind of record you can listen to over and over again and still peep something new. (“Fuck it, we about to sell-out Toast” snuck up on me.) And Uzumi’s passionate work ethic will definitely keep you checking for what’s next.

“I’m not dropping another full length album until 2021, but I got a couple of tricks up my sleeve for the rest of this year,” Uzumi tells me, “I got a couple of songs coming out, I got some videos in the works, I got a compilation coming out soon. It’s gonna be me and two of my buddies, SplashOfGold and Whogotdadutch. We’ve been working together for a long time. They were on my last project and we’re doing a project that’s coming out really soon with all three of us. I produced all the songs on that too. I got a lot of stuff coming out, it’s just the rollout that I’m focusing on.”

PhoneCalls is out now, streaming everywhere

Well, if you can’t wait, I’ve got good news for you; Fake Uzumi’s collaboration with SplashOfGold and Whogotdadutch, PhoneCalls, drops on all streaming platforms on February 18th and there’s a listening party at Utopia Feni on February 16th. If you haven’t already been put onto Fake Uzumi by now, this is as good a time as any.

Oh yeah, about that name:

“Fake wasn’t necessarily supposed to be a part of it,” he explains, “It was a joke on Twitter; like how people put “real” in their name. I’m thinking it would be funny because nobody’s trying to have a fake page of you. So I just put Fake Uzumi.”

So when my man gets that blue checkmark, he’s gonna be The Real Fake Uzumi.

Say Hello to Berries Newest Single “So Long”

Chris Ledbury dreams a romantic visitation in new music video.

While Berries has us trapped waiting eagerly for their full-length album Soliloquy Road to drop in the spring, we can quench our thirst with their latest output “So Long”, which follows previous single “Stuck”, released a few weeks ago. Unlike the lighthearted romp in the forest exhibited in the video for “Stuck”, this one takes a more serious tone and demonstrates the band’s ability to embrace more ‘mature themes’ while maintaining their palatable synth-surf sensibilities. Watch these captivating visuals directed by Chris Remaley and if you’re left wanting more then you can catch Berries opening for Summer Salt at Elevation 27 in Virginia Beach, VA on February 20, info on that here.

“So Long” is available to stream on Soundcloud and Bandcamp