Come to Gallery 5 for the December installation of Project Resolution! Bring your short films to this monthly event.
Free to submit, free to attend, free to critique.
Bring your short film or impress us all by making one just for Project Resolution. There are no limits on the content or type of film you can show and no one will screen the shorts beforehand. If you show your film, you MUST stay for a Q&A with the audience immediately following your film.
—-This month’s theme: “We owe them nothing”—-
– Please try to keep films under 15 minutes in length. If your film is over 15 minutes, contact us ahead of time as it can be scheduled as a special presentation at a future event. If there is time available, longer films will sometimes be shown.
Submit your film on DVD or media file at 7:00 PM on December 21 at Gallery 5. It is first come, first serve.
This free event is hosted by Gallery 5. Donations are welcomed. Drinks are available at the bar. Don’t forget to enter into this month’s VHS raffle!
Blue Christmas! The Dirty Truth’s Annual Christmas Jam
Yoga at Gallery5
Gallery 5’s donation based yoga classes are a blend of dynamic movement, conscious breathing, and relaxing guided meditation. We’ll focus on empowering poses to increase strength and flexibility, with plenty of breathing practices and mindfulness exercises to soothe the nervous system. It’s ideal for anyone looking to balance their hectic life! Our classes welcome students of all levels from first-timers to advanced yogis. Share your practice in this wonderful space, a community resource rich with history and home to some of RVA’s most passionate artists, writers, and performers.
Sundays at 12pm Nov 9, 16, 23, 30 / Dec 7, 14, 21, 28
RVA Pieces: An Evening Of Chess
A weekly gathering to play chess. We will have tables and seating. Please bring your sets and or clocks if you prefer blitz. If ya are shy a set don’t sweat it. There should be enough folks with boards to make it all sort itself out. There will be coffee and the gallery also has a bar. Due to scheduling within an active gallery that acts as a performance venue we may dance around on scheduling. The first two dates will fall on a Wednesday night, the 10th & 17th. Hopefully we can discuss other optional nights or days are that good for folks.
Also, Come one, Come all. This is a relaxed environment we are shooting for. All are WELCOME. Bring a backgammon board or GO set or what have ya. Feel free to share this event as you see fit as well.
Thanks and cya soon!
6PM Free (Donations Accepted)
First Friday “Friends in Slow Paces” Opening
New work from:
Richmond Burlesque Revue
More information to be announced soon!
Shy, Low, A Film in Color and Lotus Grid
Kayo Dot, Antiphons and Claim Culture
The avant-metal band Kayo Dot has probably never been accused of accessibility. Led by longtime multi-instrumentalist and writer Toby Driver, Kayo Dot has been putting out genre-defying albums since 2003 to varying degrees of acclaim. So it was something of a triumph when the Brooklyn-based band self-released its sixth album, Hubardo, last year to very positive reception. Resembling the work of an auteur, Hubardo was both a return to form for Driver, who before Kayo Dot fronted the weird and (very) heavy act maudlin of the Well (motW), and an assured step in a new direction. Clocking in at 98 minutes and boasting all the instruments and players of a chamber act, the album remains worth every bit of the attention it demands. But accessible it is not. None of which is to say that accessibility is necessarily a good thing. Truth be told, the world could use more bands like Kayo Dot that sulk and swagger to the beat of their own weird drums. The point is, there was nothing in its catalogue to indicate that Kayo Dot’s seventh album, Coffins On Io, was going to be what it’s turned out to be: a refined, and sensual, post-new wave tour de force.
The band’s change-up in approach is nowhere more apparent than on album opener ‘The Mortality of Doves’. For eight glorious seconds a faint looped chord rides in on a howling cosmic wheeze, and then the groove drops in, ushering the listener into a world that is total cyberpunk space lounge. Driver issues a stagy, guilty vocal performance from behind a thickening smokescreen of synthetic notes, almost like he’s confessing to murder over drinks with an android.
Gradually, the track’s instrumentation changes. The drums become steadily heavier; a saxophone fishtails with the synthesizer; and an utterly sinister bass line steps forth. At the end, an inconsolable Driver sings about “an angel bleeding out” and “a long-lost suicide”, until finally he is eclipsed by a tremolo-picked guitar. Over the top? Maybe. But Kayo Dot has never shied away from theatrics; what’s striking on Coffins is how genuinely affecting the final product is.
It’s worth considering Coffins as a whole package. From the sleeve art, to the lyrics, to the latest promotional pictures of the band standing beneath a yellowed sky, it’s clear there’s a concept at work. Toby Driver has said the album’s vibe was inspired by “80’s retro-future”, and it’s all here. Many have already noted the similarities between Coffins and 80s acts like Sisters of Mercy and, though more of a stretch, Scritti Politti. But Coffins is more in line with Peter Gabriel-era Genesis than anything else, ready at any point to forgo its competent pop skills in the name of intricate progressive rock. One element that has not received much attention yet is the album’s title. Combining the word for corpse boxes with the name of Jupiter’s densest moon, Coffins On Io evokes a sleek future of space exploration and, inevitably, space death. This chilly outlook carries over to the album cover, credited to Driver, which flashes the title and the surnames of the bands’ members in trim font. Out of the darkness beneath the words looms an image of the moon Io itself, sulfuric and dead.
Io, riddled with volcanic scars and frozen magma, works well on an album cover. It works even better as the anchoring point of a futuristic album with a dystopian outlook. For one, the moon is the most volcanic body in the solar system. Jupiter’s profound gravitational pull on Io causes the moon’s molten insides to swell and tide to heights of 100m (328 ft). What’s more, Io’s orbital path sits right on one of Jupiter’s magnetic lines, meaning Io itself is essentially a giant electric generator, flying through space charged with 400,000 volts of electricity. So at it’s prog rock geekiest, Coffins On Io is a concept album about the coolest moon in space. (This might very well be the case. When the blistering second half of “Subterranean Librarian” kicks in, it sounds like the band has managed to harness Io’s own electric surges.)
But Coffins is more than a great concept work by a great band. Nuanced performances and unusual timbres have always given Kayo Dot’s music an organic edge, despite its meticulous composition. Nevertheless, some of Kayo Dot’s past works—2010’s Coyote, to name one—have suffered from emotional inscrutability. That’s rarely the case here, largely due to the increased focus on melody and vocals.
Driver’s performance as a singer on Coffins is nothing shy of a revelation. On ‘Longtime Disturbance on the Miracle Mile’, a balladic romp through abandoned streets, his haunted turn serves as an anchor to meandering guitars and synthesized winds. The crux of album closer ‘Spirit Photography’ is Driver’s delicate and stirring falsetto. (Listen closely—it’s a brief, subtle thing.) And on the even better ‘Offramp Cycle, Pattern 22′, an almost unrecognizable Driver channels a gothic David Bowie, singing, “Blood on my hands and the thing in the backseat that used to be human.” It’s a repulsively catchy moment in a song that is tailor-made chase music.
Really, all of Coffins On Io could be chase music. The sweeping sense of movement and scope is due to the band’s knack for sequencing. Transitions from song to song are cinematic, and the whole work calls to be played as one careens through a forgotten desert, maybe beneath one of William Gibson’s detuned skies. At the least, the album deserves to soundtrack a drive insofar as it deserves to be listened to from start to finish. Which is to say, it does. All told, Kayo Dot’s Coffins On Io—out October 16th on Flenser Records—is a deep, living work with an emotional resonance that belies its sleek sonic design and retro-futuristic aesthetic.
With Special Guests:
Doors 730PM Show 8PM
Left & Right, Young Scum, Wish List and Recluse Raccoon
Just in time for the *~*~holidaze~*~* Wish List is bringing their infectious riffs and thick indie-power-rock chops to Richmond for the first time! Let’s give em a warm welcome.
THANK U SANTA
They’re bringing along friends @Left & Right who RULE and ROCK and will have you throwing your head Left & Right while you succumb to their sweet lixxx and savory hooks so BRING A HELMET
Ellie Quinn Presents: Adorkable
Zhora NovaHosted by Jim Dandy – Sideshow
$10 advance $15 door
Fools Day Comedy
Butcher Brown, Lucy Dacus and Night Idea
Amazing Richmond bands cover a full spectrum affair of lovely music. Tell a lover, bring a friend, mention at a family affair.
Lucy Dacus will provide some beautiful solo jams
Night Idea‘s jazz-math-indie-prog-rock jams shall play in full force! And also releasing their 2013 Album, “Paths” on Cassette from Richmond’s very own Hand to Mouth Tapes label.
Butcher Brown‘s erratic Jellowstone Records classicism will groove the gallery the hardest since it opened in 1859.
$5, show starts at 8pm sharp.