Ron Gallo

Ron Gallo

The Trillions, Angelica Garcia

Sun, February 26, 2017

Doors: 8:00 pm / Show: 9:00 pm

$8.00 - $10.00

This event is 18 and over

Ron Gallo
Ron Gallo
An Open Letter from Ron Gallo to Humanity:

(Shredding. Speaking. Writing. Thinking. Reading.)

I straddle the fence between two mindsets –

1. The world is completely fucked and,

2. The universe is inside you.
I have probably spent too much time being pissed off and upset with humanity; how far we’ve let ourselves go. Just another millennial guy with large hair trying in earnest to take on the weight of the world; taking passionate and hypercritical walks down city blocks, somehow totally aware and above the illusion, overflowing with informed negativity to destroy the illusion and only feeding it.

Besides a couple of years of emotional and mental turmoil, loss, confusion, breakdown and internal growth what did all of that ever get me? Well, it gave me this record called “HEAVY META” and it is the first few findings from my guerilla treasure hunt for bullshit, both outside and within. Ethos meets pathos.

There is nothing about reading this bio that will achieve its only goal - to further acquaint you with the music. I suggest you put the phone down, come to a show and make up your own mind. You work hard, or don’t work at all; but the search for purpose and meaning is real and the need to relate, release and rage is just as visceral. And though I can’t control what you think, maybe, JUST MAYBE, I can spark some emotion that might unite us in tacit understanding through the language of music – where the words “fuck yeah” say everything.

Just the existence of a biography in someway makes it seem like my life is more interesting than your life - far from the truth. I am more interested in YOU, and how we connect that to the WE; that is the reason why I put this stuff out there. These songs - whether they’re about the time I saw a mother’s cigarette ash falling onto her child’s head in a stroller, or the wars we start within ourselves or, the domestication of punks - they immortalize images and moments in this singular existence that seem to hold a more universal truth than what is taken at face value. And for all this I have nothing but gratitude for the process that lead me to create this album - the 4,929,647 album of all time.



RG



HEAVY META LP

…is 11 tracks of lyrical confrontation and laughter for cynics laid down roughly on a bed of fuzz, chaotic structures and primal sounds evoked from a red Fender jaguar electric guitar - there is bass, there are drums and not much else besides the occasional icing (no artificial colors or dyes). It’s not comfortable and easily pinpointed and I’m sure that will create an issue for the desire for neat little boxes we have grown to love. On my shelf currently there is a Mahalia Jackson record sandwiched between “Funhouse” by The Stooges and Minor Threat. Lately on long drives, we’ve been deep into the Eckhart Tolle audiobook for “A New Earth”, a variety of comedy podcasts (specify), our friends and bands in our new adopted home of Nashville, stand-up specials and revisiting 90’s hits - oh, and listening to our own record a lot to make sure the mixes are right on car speakers. My bedroom window curtains are orange. We tour in a maroon SUV. The band, RG3, consists of Joe Bisirri on bass and Dylan Sevey on drums.

If you’ve made it this far, now might be a good time to go over some pretty boring backstory to create further context for the “assets” of my “brand”:

I was in a band called Toy Soldiers for about 8 years that started as a drum/guitar duo between my longtime friend from middle school and I, fluctuated into a 12-piece freak show and then eventually a solid 5-piece rock and roll group. I consider that brand my musical training wheels. It was the reason one night in 2007 I realized in a low ceiling south Philadelphia basement that maybe one day I could be a singer. We barreled around the country many times, made many mistakes, had good times and eventually played our last show in August of 2014. Shortly thereafter I started a label called American Diamond Recordings and put out a record called “RONNY”, the cover is my face with a slice of pizza on it and it sounds like an island vacation. I didn’t know what I was doing when I made it. I still don’t know what I’m doing and I plan on keeping it that way.

The only thing I do know is that I want to use music to reflect the times and as a primary outlet for me to become a total psychopath on stage, challenge myself and talk about potentially heavy real world things, call you out, then maybe we can even hug after the show. I am forever grateful for this life and anyone that ever comes to a show, buys a record and wants to have a real conversation. I have no idea where things are going, but I know it’s best to grow with them and be okay with whatever happens. As for right now, it seems like a great time to WAKE UP, put all of ourselves into it, acknowledge our own personal limitless value and beauty and if I can be any part in that, well then, awesome. Thank you.
The Trillions
The Trillions
Richmond, Virginia based The Trillions siphon sounds from their favorite high-intensity bands: some pop wizardry from The Strokes, big-and-loud drums from Led Zeppelin and The Who, a dose of bombastic shred and guitar feedback from Pinkerton-era Weezer, smears of vocal attitude from The Buzzcocks, all drizzled with some topical lyrics and harmonies à la The Beatles, The Zombies, or Dr. Dog. In 2013, they were named as one of Virginia's top 12 bands you should listen to now by Paste magazine. The band recently toured with J Roddy Walston and the Business. That tour included a sold out show at New York's famous Bowery Ballroom, as well as, sold out shows in Boston and Richmond. Since 2010, the band has also opened up for national touring acts such as The Head and The Heart, Girl Talk, Best Coast, Motion City Soundtrack, Thao & The Get Down Stay Down, Jukebox the Ghost, and many others. The Trillions feature Charlie Glenn (guitar, vocals), Chris Smith (guitar, vocals), Robbie King (bass) and Joe Ferguson (drummer).
Angelica Garcia
Angelica Garcia
Angelica Garcia appropriately likens her journey to "going down the rabbit hole."

Upon graduating from Los Angeles School for the Arts, the 17-year-old native Angeleno found herself living in a 200-year-old gothic brick home encircled by magnolia trees and under a blanket of bright stars in Accomac, Virginia. Her stepfather traded a career in the music industry for Episcopalian priesthood, and an Eastern Shore church would serve as his (and the family's) first congregation. Behind that residence where Union General Henry Hayes Lockwood once passed through during the Civil War, Angelica began to fashion her musical world in the dusty old parish house. Nodding to her personal "holy trinity" of Willie Nelson, Neil Young, and Jack White, she tenaciously penned music.

"Living there helped define my sound," she declares. "It was really hard for me, because all of my friends were in Los Angeles. I didn't know anyone, and I felt very isolated. So, I went into that parish house alone. When you're sitting there by yourself, you don't have to ask for permission. There's no one to judge you. You get to do everything you want to. I had the chance to be free musically. A lot of it was my way to resurrect hope and feel better. You write what you know because nobody knows what you know. That's the best way to be honest."

The singer and songwriter's vision embraced the environment as she recorded the sounds of crickets, drumming on a shoebox, creaking doors, and more to build a rich soundscape with just her piano, guitar, and MacBook. Those ideas would eventually evolve into the 12 songs comprising her 2016 full-length Warner Bros. Records debut, Medicine For Birds.

In 2014, the label signed Angelica based off the strength of the parish house demos, and she embarked on her first national tour with Delta Rae. She'd take the initial ideas to a Nashville studio with producer Charlie Peacock [The Civil Wars, Switchfoot] in January 2015.

"It's like the songs grew up at that moment," she explains. "Charlie showed me how big and crazy they could be. I felt like a hermit coming out. He was the ambassador to this sonic realm I didn't know about it. The music became limitless."

Now, her style struts between ghostly gorgeous countrified blues and sly swamp Americana. With a childlike whimsy, quirky sense of humor, and dynamic delivery, it could easily soundtrack an apparitions' ball in some Faulknerian mansion. Punctuated by stomping percussion, revival-worthy handclaps, and airy banjos, "Woman I'm Hollerin'" conjures up a heavenly haunting chant, "They want my blood!"

"I wrote it in one sitting," she recalls. "It's all about being afraid people are going to come after you. We all get scared, and it captures that feeling. You're worried and reaching out for help."
Elsewhere, "Magnolia Is Medicine" pairs a lithe finger-picked acoustic guitar with her breathy verses. It uncovers the meaning behind the album title too. "The Magnolia tree represented the South for me," she says. "It was the medicine that made me feel better. In the same way, I want these songs to make other people feel better."

"Bridge Is On Fire" spins a psychedelic electric sitar into a gloomy, grim narrative of towering flames and the ashes of a relationship. "I'm telling the story of a guy and girl," she continues. "He's panicking about this bridge burning, and his love being on the other side away from him. However, it turns out she lit the blaze. Her decision to start this fire was more important than the relationship. It's a self-actualization."

Medicine For Birds is Angelica's actualization. It's the culmination of a life devoted to music that began in Eastern Los Angeles harmonizing with her mother at 5-years-old and performing at the city's most famous haunts in high school to landing at the bottom of the rabbit hole on the other side of the country.

It's the gateway to her wild world…

"I love it when someone tells me they relate to my work," she concludes. "that's the ultimate validation. When you're all alone working on music, you open up. The more songs that I write, the more I realize this world. It's kooky. It's spooky. It's playful. It's funny. It's somber. It's goth. It's light. It's me."
Venue Information:
Strange Matter
929 West Grace Street
Richmond, VA, 23220
http://strangematterrva.com/