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ARTS Pick: Grits ‘n’ Gravy

DJs Robin Tomlin and Colin Powell retrofit classical American soul for modern dance parties under the handle Grits ‘n’ Gravy. Their spin repertoire spans the canonical masters of soul from James Brown to funk dynamos Parliament, while including a bevy of lesser known acts. The duo blasts infectious dance tunes such as the Heatwaves’ blustering psychedelic romp “Groove Train,” and jaunty operatic anthems like Tina Turner’s “Proud Mary.” Not without tenderness, they also indulge an audience’s amorous side with Don Gardner’s buoyant “We’re Gonna Make it Big,” and Al Green’s warbling slow ballad “Let’s Stay Together.”

Tuesday 12/31 $5, 10:30pm. The Southern Café and Music Hall, 103 S. First St., 977-5590.

 

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Arts

ARTS Pick: Ruby Ross

New Orleans-based singer-songwriter Ruby Ross makes a hometown return with local guest musicians to celebrate the release of her new EP, Solid Ground. Emotional and unpretentious vocals showcase her Appalachian roots, and NOLA jazz influences her folksy acoustic Americana on tunes that recall feminine folk icons like Joni Mitchell and Joan Baez.

Saturday 12/28 $5, 8pm. C’ville Coffee, 1301 Harris St. 817-2633.

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News

Progressive populist: Former Mayor Dave Norris reflects on the Charlottesville’s past and future

After eight years of twice-a-month Monday night meetings, and countless hours corresponding with constituents, city brass, and media, former Charlottesville City Councilor and Mayor Dave Norris is stepping out of the public eye, and feeling pretty good about it.

“I didn’t run for office to feed my ego or climb the political ladder,” he said in an interview on December 18, two days before newly elected city councilor Bob Fenwick and reelected councilor Kristin Szakos took their oaths of office. “I ran for office to get things done in the community.”

Elected in 2006 on a progressive platform that prioritized the environment as well as housing, jobs, and education for the disadvantaged, Norris made things happen and there’s plenty of evidence.

There’s The Crossings at Fourth and Preston, a 60-unit building completed in 2012 with the purpose of providing permanent housing to the homeless, something that had been shown in other cities to reduce costs from multiple arrests and hospitalizations common among those who are chronically homeless.

“I fought for several years to get a housing fund established in the city budget, and ultimately succeeded,” said Norris, who served as mayor from 2008-2012, noting that in addition to providing money for the Crossings, that fund supported the construction or preservation of more than 350 units of affordable housing in the past six or seven years, none of which are government-owned.

“One of the changes I’ve tried to push is how we can meet community needs through innovative approaches,” he said. “In this case, that meant working with the nonprofit and private sectors to get things done.”

Charlottesville Mayor Satyendra Huja is a Norris fan. “He is passionate about issues, and he pursues them,” he said. Former Charlottesville Vice Mayor Meredith Richards also gives the 43-year-old high marks as a politician who worked hard for constituents.

“He especially appealed to youthful voters, who looked up to him as a model of progressive activism,” she wrote in an e-mail.

Business owners, too, appreciated Norris for being level-headed and accessible.

“Dave has been the guy we could always count on to call in the city who could listen, think about the situation, and do the right thing,” said Mark Brown, owner of the Main Street Arena, recalling that Norris was particularly supportive of the Arena’s installation of a large array of roof-top solar panels.

While Norris may be best known for his support of progressive issues, he resists being categorized as far left across the board.

“I consider myself a populist, and I’ve enjoyed good support from party-line Dems but also people who don’t identify with the Democratic Party,” he said. “I proudly stood for LGBT equality, and supported marriage equality, I’ve been strong on issues of race, poverty and opportunity, but on the fiscal side, I’m more of a hawk.”

He cites several examples of his more conservative side, including his vote on the so-called “rain tax,” a stormwater fee implemented in February that charges property owners for the amount of impervious surface on their property. Norris was the only councilor to vote against it.

As for another contentious water-related issue, the 50-year water supply plan, Norris was a vocal proponent of dredging the existing reservoir rather than building a dam and clearing the Ragged Mountain Natural Area. After City Council unanimously voted to support the dredging plan, three of his fellow councilors voted to support the dam construction in January 2011.

“That was a pretty frustrating experience in general,” said Norris. “But the nature of democracy is you don’t always get your way.”

As for future projects Norris would like to see completed in a hurry, he cites finding a permanent home for City Market, the creation of more skilled labor jobs in the city, and a proper fix for the stench frequently emanating from the water treatment plant in the Woolen Mills.

“It’s affecting thousands on a regular basis,” he said of the odor.

Norris will be spared smelling the treatment plant on weekdays from now on as he’ll be staying in Richmond for his new job as director of community impact with the United Way of Greater Richmond and Petersburg. Charlottesville, however, will remain his home base, and he’s not giving up his role on a  variety of local nonprofit boards including the Public Housing Association of Residents and the Charlottesville-Winneba Foundation, which supports the sister-city relationship between Charlottesville and that city in Ghana, Africa.

And while he’s proud of his political accomplishments, and determined to remain active in various causes relating to housing, poverty, and discrimination, Norris doesn’t see another run for public office anytime soon, if ever.

“It’s been a great ride,” he said. “But I don’t have higher ambitions.”

 

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Arts

Celebrating New Year’s Eve with The Dirty Dozen Brass Band

It’s not likely you’ll find another band that’s opened for both Lionel Richie and Widespread Panic, in the same year no less. Call it a perfect example of the high-energy celebratory versatility of the Dirty Dozen Brass Band, a four-decade New Orleans musical institution that’s well known for delivering good time horn-driven grooves.

“We just play music, man, any style,” said founding Dirty Dozen baritone sax player Roger Lewis, when reached by phone at home in the Crescent City. “That’s what we do. We can adapt to anything. That’s called being a musician. I’ll play with anybody. I don’t care what it is.”

Lewis went on to ring off some of the band’s other notable collaborations, a lengthy list that includes Elvis Costello, Dizzy Gillespie, Branford Marsalis, Dr. John, Norah Jones, and Modest Mouse. “Everybody except Lady Gaga—now that would be interesting,” he added with a weathered laugh.

The Dirty Dozen formed in 1977, starting as a nightclub house band in New Orleans’ Sixth Ward. The group shook up the traditional brass band format by adding a baritone saxophone in place of the clarinet and infusing a street-born second-line style with elements of be-bop, funk, R&B, and rock.

“That’s what made our band different,” Lewis added. “We still play a lot of the traditional music of New Orleans, mixed in with our own compositions.”

In the early ’80s the band’s popularity took off, eventually garnering the group status as worldwide ambassadors of a Big Easy party. Crowds started to swell at jazz clubs and festivals in the U.S. and abroad in Europe and Japan. The 1984 debut album My Feet Can’t Fail Me Now features many of the band’s most enduring live staples. Reinterpreted traditional favorites like “St. James Infirmary,” a reworking of Duke Ellington’s “Caravan,” and the hopping title track, exemplify what the band best delivers—upbeat, dance-friendly rhythms, rousing chorus chants, and plenty of big brass blasts.

Membership has changed through the years, which has often evolved the band’s sound. Certain incarnations have featured guitar, keyboards, and a full rhythm section. Longstanding original members like Lewis and trumpet player Gregory Davis have helped foster the careers of latter musicians like popular New Orleans trombone player “Big Sam” Williams, who went on to form Big Sam’s Funky Nation, and guitarist Jamie McClean.

“Every time you bring in new members the music takes on a different feeling,” Lewis said. “We keep on reinventing ourselves, but it always sounds good. It’s an institution.”

The group has also been creatively liberal with its studio output. In the wake of Hurricane Katrina the band channeled its frustration with recovery efforts through a song-by-song remake of Marvin Gaye’s classic soul album What’s Going On. The 2002 effort Medicated Magic was a guest- and cover-filled affair that featured help from Panic’s front man John Bell, pedal steel wiz Robert Randolph, and Olu Dara. The band’s latest album, 2012’s Twenty Dozen, was its first in six years and found the outfit looking to the past and present with the inclusion of the ubiquitous standard “When the Saints Go Marching In,” as well as a take on Rihanna’s “Don’t Stop the Music.”

The band also hit TV screens with an appearance in the second season of the HBO series “Treme,” David Simon’s look at life in New Orleans during the Katrina aftermath. Lewis said he’s sad to see the show, which is in the midst of its fourth and final season, end its run, calling it an “accurate representation of what happens in New Orleans. It gave our musicians a lot of exposure and put a couple of dollars in our pockets.”

Touring, though, is still the band’s lifeblood. While Lewis estimates the Dirty Dozen have averaged 300 gigs a year for over two decades, the group has now scaled back to approximately 100 shows annually. The band was in Central Virginia in September, performing a collaborative set with the Soul Rebels at the inaugural Lockn’ Music Festival in Arrington, and it will be back in Charlottesville on Tuesday for a special New Year’s Eve co-bill with Southern tunesmith Jason Isbell at The Jefferson Theater. While the show culminates another year of hard work, it hardly signifies a slowdown, as the band has a slate of dates booked in early January and February. Lewis, who plays with a handful of additional brass bands when he’s home in New Orleans sums it up easily: “There are always plenty of gigs.”

Tuesday 12/31 485-45, 9:30pm. The Jefferson Theater, 110 E. Main St. New Years Eve with Jason Isbell, The Dirty Dozen Brass Band and special guests Grits ‘n’ Gravy www.jeffersontheater.com

 

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Arts

ARTS Pick: Play On! at First Night Virginia

The all volunteer, not-for-profit community theater Play On! stages family friendly performances at First Night Virginia’s arts festival with an eclectic grouping of theater newbies and seasoned stage veterans singing children’s Broadway favorites. The shimmering medley of uplifting tunes includes hits from Annie and The Sound of Music, and Disney classics. The popular show tunes will be followed by the troupe’s original ’70s music review, 8-Tracks Alive, a groovy collection of vintage chart-toppers.

Tuesday 12/31 $5-15, times vary. First United Methodists Church, 101 E. Jefferson St., 975-8269.

For a complete list of events go to www.firstnightva.org.

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News

Court Squared: Legal community weighs in as Assembly fills circuit court bench

Ever wonder how somebody becomes a judge? As the powers-that-be gear up to find a replacement for retiring 16th Judicial Circuit Judge Edward L. Hogshire, we’ve got a chance to watch the process play out from start to finish. For those seeking a seat on a local bench, that process starts here in the community and ends in the chambers of the General Assembly.

The two constants to remember for aspiring judges, besides the basic requirement of being licensed to practice law by their state bar association, are to make lots of contacts in the legal world (especially influential ones) and don’t piss off too many of your fellow legal practitioners (especially influential ones). A third equally important trait: Have a reputation for being good at what you do before you decide to seek the gavel.

Even if you’re only mildly interested in politics, you’re probably familiar with the U.S. Supreme Court nomination process. That’s where the President’s nominee sits poker-faced in front of a clamorous Senate committee for a few days fielding questions and swearing he or she is not a judicial activist. The nominee is exceedingly careful to conceal any hint of a personality. Upon confirmation, the Supreme Court Justice is then free to assume recognizable human characteristics, including emotions and partisan ideologies.

For local judicial candidates, including those vying for Judge Hogshire’s seat, things play out on a smaller scale. Virginia circuit court judges are elected by a majority vote of both chambers of the General Assembly for eight-year terms. Like in any job application, those seeking to become judges need recommendations. This is where the Charlottesville Albemarle Bar Association (CABA) steps in.

Qualified judicial candidates can seek a nod from CABA’s Judicial Endorsement Committee. The four most recent past CABA presidents, as well as six at-large CABA members and any retired judge interested in participating, form the committee.

“An endorsement from the committee essentially gives the legislature more information on the candidate to help make a more informed decision,” said Committee Chair Page Williams.

To get a CABA endorsement, an individual must first submit a statement of interest to the committee. After that, the interested party fills out a questionnaire. CABA actively recruits public input in the endorsement process by holding an interview forum open to both CABA and community members. The forum is like a large, group interview where anybody can show up and watch. Imagine an interview you had in the past. Now imagine that same interview being conducted by 15 interviewers in front of your peers, colleagues, and anyone else who happens to meander in off the street. Sounds fun, right?

Much like their U.S. Supreme Court candidate counterparts, Commonwealth judicial hopefuls typically must endure some public scrutiny if they desire a judgeship. They don’t have to worry about constant C-SPAN coverage, however.

The committee accepts questions from the public and other CABA members to be considered for the interview forum. Each candidate is asked the same set of questions. The committee’s end goal is to determine which individual or individuals are “highly qualified” to assume the judgeship, according to CABA’s bylaws. In the end, all of CABA’s members will vote to select which names to send to the General Assembly. These may or may not include the individuals deemed to be highly qualified by the committee.

The public forum for the vacant 16th Judicial Circuit seat was held December 9 at the Charlottesville Circuit Court. The committee determined three of the six candidates to be highly qualified. David B. Franzen, Judge Richard E. Moore, and Joseph W. Wright, III now only have to receive the vote of the CABA’s members in order to receive the prized endorsement.

However, like any employment recommendation, there’s no guarantee that it will sway the person on the receiving end to hire you. The same goes for CABA’s endorsement.

“It’s the legislature that ultimately selects judges, not the committee,” said Williams about the committee’s recommendation to the General Assembly. “The last judge elected [in the area] by the legislature did not receive an endorsement.”

The General Assembly will select the individual to fill Judge Hogshire’s vacant seat sometime in January, 2014. The chosen individual’s term will start on February 1, 2014.

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Arts

Film review: Anchorman 2

Good news. Anchorman 2: The Legend Continues is not as bad as the following comedy sequels: Caddyshack II. Analyze That. Teen Wolf Too. Dumb and Dumberer. Revenge of the Nerds II: Nerds in Paradise. Fletch Lives. The Hangover Part II.

In fact, Anchorman 2 is not bad. The sheer volume of jokes guarantees some will stick. There are so many gags that a few even move the plot forward—and this is a movie with a surprising amount of plot, which is the same thing that killed Back to the Future Part II.

But Anchorman 2 doesn’t lock into high gear and stay there. When I saw Anchorman: The Legend of Ron Burgundy, for the first 10 minutes I thought, “Nope. Not working. In fact, this is stupid.”

Then sometime later—maybe it was the jazz flute scene—I was sold. And I have stayed sold. If I come across Anchorman on TV, my afternoon is shot, and I own the Blu-Ray.

The win-over moment never arises during Anchorman 2. Maybe it’s because the movie tries so hard to be funny. I almost wanted to tell Ron Burgundy (Will Ferrell) and director and co-writer Adam McKay to stop. After all, with so much plot, maybe fewer jokes would be a boon.

During the course of roughly two hours (note: comedies should never be two hours long, ever), Ron and Veronica Corningstone (Christina Applegate) break up; she gets promoted as he’s fired; he’s hired by the first cable news network, GNN; he and the old gang—who all went separate ways—regroup; they invent Fox News-style cable news; Ron has a horrible accident; Ron deals with having a female African American boss (Meagan Good); Brick Tamland (Steve Carell) gets a love interest (Kristen Wiig); and on and on and on.

And what Ferrell and McKay seem to have forgotten is that the story in the first Anchorman did not matter. Sexist newsreader dealing with feminism? Fine. Let the bits commence. Drink scotch, sing “Afternoon Delight,” whatever.

In The Legend Continues, much like Peter Venkman in the wretched Ghostbusters II, Ron has been softened, and softening sucks the life from comedy. At one point, Ron realizes his relationship with his son is more important than the news, and—are you kidding? Lout Ron Burgundy cares about family? This isn’t It’s a Wonderful Life, gang.

Worse, Brian Fantana (Paul Rudd) has been made the brains of the group, which just seems wrong. Here’s a guy with a closet full of condoms but he has seven illegitimate children. How is this guy the brains?

And Brick is given way too much screen time. He’s great for one-liners (“I love lamp”), but watching him give a eulogy at his own funeral and then fall in love with someone as dumb as he is? Pass.

Of course, no movie with this many jokes can fail (but please don’t steal from Bloom County next time, guys). Those that work are gut-laugh funny. If only there were a better framing device, Anchorman 2 may have been as good as the original.

Anchorman 2:The Legend Continues PG-13, 119 minutes Regal Stonefield 14 and IMAX

Playing this week

12 Years a Slave
Regal Downtown Mall Cinema 6

American Hustle
Regal Stonefield 14 and IMAX

The Book Thief
Regal Downtown Mall Cinema 6

Dallas Buyer’s Club
Regal Downtown Mall Cinema 6

Dhoom 3
Regal Downtown Mall Cinema 6

Frozen 3D
Regal Stonefield 14 and IMAX

Gravity
Regal Downtown Mall Cinema 6

The Hobbit: The Desolation
of Smaug
Regal Stonefield 14 and IMAX

The Hunger Games:
Catching Fire
Regal Stonefield 14 and IMAX

Nebraska
Regal Downtown Mall Cinema 6

Out of the Furnace
Regal Stonefield 14 and IMAX

Philomena
Regal Downtown Mall Cinema 6

Saving Mr. Banks
Regal Stonefield 14 and IMAX

Tyler Perry’s
A Madea Christmas
Regal Stonefield 14 and IMAX

Walking With Dinosaurs
Regal Stonefield 14 and IMAX

Movie houses

Regal Downtown Mall
Cinema 6
979-7669

Regal Stonefield 14
and IMAX
244-3213

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Arts

Three for ’13: A take on the best shows of the year

Live music is as important now as it’s ever been. With the days of the huge record contract all but behind us and the era of the small label in full swing, most bands can’t make a living without hitting the road hard.

“It’s a hard business,” Cold War Kids front man Nathan Willett told me before his October 29 Charlottesville show. “The income is mostly from touring, and that’s a tough way to do it.”

Two of the best shows I saw this year were from indie bands in the same boat as Willett—the Carolina Chocolate Drops and Dr. Dog both jammed at the Jefferson like their professional lives depended on it.

Then there’s the other end of the spectrum—one of the last vestiges of the major label era laying waste to any notion it might have become complacent in its old age. Pearl Jam might not be living tour-paycheck-to-tour-paycheck, but the grunge pioneers still rock like it’s 1993.

Carolina Chocolate Drops at the Jefferson

I’ll admit to being the type of guy who tears up at sad movies. I can’t say I’ve ever felt the same way about a concert, until the Carolina Chocolate Drops, a folk-tinged four-piece that pays homage to old-timey Southern black music, came to town on April 1.

The majority of the show was a heels-up good time. Dom Flemons, who’s since left the band, set the tone on banjo and guitar. He’s a ham. He makes funny faces. He flips his guitar around with the enthusiasm of an awkward teenager. Rhiannon Giddens, the Drops’ only remaining founder, is a virtuoso on strings and charged through the band’s most well-known track, a cover of the 2001 R&B smash “Hit ’Em Up Style.”

The Drops’ show dragged slightly at the midway point, and the lack of former member Justin Robinson was noticeable in the decision not to perform “Your Baby Ain’t Sweet Like Mine” but the band moves through its catalog quickly enough to pull out of temporary stalls.

Many of the Drops’ tunes are lighthearted, and only in the encore did the band decide to tug at heartstrings and embarrass grown men. Standing four abreast on the stage, the musicians ended the night by chanting the traditional slave song “Read ’Em John,” in which a literate slave is asked to read the chanters a letter they hope will “let them go.” Even with few words and no musical accompaniment, it was the most poignant encore I remember seeing.

Pearl Jam at John Paul Jones Arena

It would be easy at this point in his career for Eddie Vedder to mail it in. Instead, on October 29, he was nothing short of euphoric.

“This feels like the kind of place we could get comfortable and play for a while,” he told the crowd after a few numbers.

The JPJ concert was, for me, more about the songs Pearl Jam didn’t play than those it did. The bandmates must not have heard how much I enjoy their cover of “Last Kiss.” They didn’t do “Even Flow,” passed on “Better Man,” and were perhaps too short winded for “Elderly Woman Behind the Counter in a Small Town.” But even without those classic numbers, it reminded you what a rock ‘n’ roll show can be.

Vedder, at 48, is still an energetic acrobat of a performer. I’d put the way he handles a microphone stand, hurdles speakers, rides giant pendulums, and drinks wine from the bottle up against any 30 year old.

As for the wine, Vedder boozed so much during the show, I was worried he might get drunk and turn on us. The opposite happened. He stopped one song abruptly to make sure everyone was O.K. when the floor got unruly. He connected with two young boys in the front row who he reported sang “every word to every song” and invited them on stage, praising them (and their parents) for their fanship. If it hadn’t been for the uncomfortable moment when he tried to give the kids some wine, it would have been the perfect ending to the night.

Dr. Dog at the Jefferson

As one of Dr. Dog’s two lead singer’s, Toby Leaman, promised me before the show, the Philly-based six-piece didn’t pander; they were just “a good solid rock band doing [its] thing.”

Leaman and fellow songwriter Scott McMicken have been together for more than 20 years, and their comfort level is clear when they take the stage.

You’d think it would be difficult for two lead singers to coexist, but while Dr. Dog is unpredictable when it comes to style and influence, the band has always alternated, without fail, between Leaman tracks and McMicken tracks. On albums and in concert, each song sung by Leaman is immediately followed by a song from McMicken, and vice versa.

It’s a formula that shouldn’t work. It feels too contrived. But on November 6, the reasons for its success were clear. Leaman has the traditional rocker’s rasp. McMicken is squeakier, quirkier. Just when Leaman crooned “Hang On” during the Charlottesville show and convinced us he was the superior singer, McMicken made a case for his songwriting chops in the rambling “Phenomenon.” Just when McMicken broke our hearts with “Jackie Wants a Black Eye,” Leaman healed us with “Lonesome.”

In the end, it wasn’t the act on stage that proved Dr. Dog’s appeal—it was the crowd, where the audience was in a dance and lip sync contest to see who was the biggest fan.

The winner of that competition has been decided, by the way. By the end of the night, it was me.

 

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Arts

Album review: Outstanding releases from 2013

10.Travis

Where You Stand/Red Telephone Box

After a five-year hiatus, the Brit rockers came back with a beautiful vengeance. Where You Stand possesses an almost magical quality throughout due to Fran Healy’s cracking falsetto, the pleasing combination of dreamy rock and piano pop, and thought-provoking lyrics

9.Trixie Whitley

Fourth Corner/Strong Blood Records

Newcomer Trixie Whitley’s under-
the-radar debut LP served notice that she is an artist to watch. Combining husky vocals and soulful delivery with a show-stopping quality, Whitley wowed with her impressive range as she crooned to the heavens on piano-led numbers like “Morelia” and broke into spoken word stylings on “Hotel No Name.”

8.On An On

Give In/Roll Call Records

On An On’s debut is a dream pop lover’s delight. Ambient numbers (“I Wanted to Say More”) were just as noteworthy as ethereal tracks like “Cops,” and even when grittiness appears (the garage rock-tinged ’80s pop track “Panic”) it’s gently offset by the breathy, lilting vocals of Alissa Ricci.

7. Sarah Neufeld

Hero Brother/Constellation

Best known as the violinist for Arcade Fire, Neufeld shows off her solo chops on this moody, dissonant, and almost entirely instrumental record. “Breathing Black Ground” is a haunting piece of work, and “Dirt” sways through three movements. Like the soundtrack to a disturbing dream, Hero Brother takes hold of you and doesn’t let go.

6. Cage the Elephant

Melophobia/RCA

Alternative rock band Cage the Elephant’s latest is on a creative path that is eerily similar to Silverchair’s. Melophobia recalls Silverchair’s Neon Ballroom in the sense that its sonic palette is vastly expanded here. In addition to kooky stompers (“It’s Just Forever”), the album features hints of Motown soul (“Spiderhead” and “Telescope”). But “Teeth” is the standout, combining punk, jazz, and glam rock with singer Matthew Schulz’s profound musings on the perils of celebrity.

5. Paramore

Paramore/Fueled By Ramen

From the glib ukulele interludes on this record to the first single “Now” (about moving away from a turbulent past), this record is all about rebirth. Singer Hayley Williams’ vocals have matured and the band’s pop-punk is augmented by a gospel choir on “Ain’t it Fun,” synth pop effects on “Fast in My Car,” and blistering shoegaze rock on “Future.” A fine effort in using the past to push into a compelling new musical direction.

4. Eisley

Currents/Equal Vision

After 2011’s angst-ridden The Valley, Currents is a return to form for Eisley. The DuPree sisters rely on their siren-like vocals throughout, and the band returns to the fantastical themes that filled its earlier releases. The groovy, sexy title track is vintage Eisley, and hypnotic beats and gorgeous strings lead the way on the chilling “The Night Comes,” while a jazzy element pervades “Drink the Water,” and the quintet’s echoing vocals are spellbinding on the bridge to “Save My Soul.”

3. The Joy Formidable

Wolf’s Law/Atlantic

As alternative rock releases go, there’s nothing better than this in 2013. Led by the driving single “This Ladder is Ours,” this sophomore album solidified The Joy Formidable’s status as a band of the future. The dynamic group crafts propulsive rock songs like “Little Blimp,” and then strips things down in the quiet, acoustic ditty “The Silent Treatment.” Singer Ritzy Bryan’s vocals are more sultry this time around, though she still injects the tracks with plenty of verve, and the lyrics tap into the complexity of relationships (“Tendons”) and validation (“The Leopard and the Lung”).

2. KT Tunstall

Invisible Empire/Crescent Moon/Blue Note/Universal Records

This was arguably the biggest surprise of 2013 as Tunstall shed her top 40 rock persona in favor of Americana, folk, and country tracks. “Invisible Empire” embodies the creative re-imagining she applied to this album, and the gorgeous piano ballads on “Crescent Moon” and “Yellow Flower” make Invisible Empire/Crescent Moon the best album of Tunstall’s career thus far.

1. Eluvium

Nightmare Ending/Temporary Residence

Matthew Cooper, a.k.a. Eluvium, treats us to the most mind-bending sonic journey of the year. A double album that is almost entirely instrumental, and plays like an epic film score, Nightmare Ending is filled with countless sweeping, ominous, ethereal and jaw-dropping moments. “Unknown Variation” brings in layers of distortion and feedback a la BT’s Nuovo Morceau Subrosa, but Cooper balances this against gorgeous piano interludes like “Caroling,” and uses haunting orchestration to great effect in “Covered in Writing.” By the time the album’s only lyrics are whispered by Yo La Tengo’s Ira Kaplan on the closing track, “Happiness,” we are convinced that the daring, audio odyssey Nightmare Ending is this year’s most glorious album.

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Living

If you’re hopping on the New Year’s fitness bandwagon, don’t miss these local specials

Tourist season at the gym is upon us. Whether folks are inspired by hitting the restart button for 2014, or disheartened by the tightness of their jeans post-holiday binging, it’s no secret that January and February bring an influx of treadmill neophytes to fitness centers.

But despite an inclination for gyms and studios to incentivize new members with seasonal specials, ACAC Membership Director Joe Schwar said the bulk of the January workout rush is not made up of new clients.

“All the gym rats complain about how many people are in the club, and think we’re selling all these new memberships with incentives for people to join, but we really don’t,” Schwar said. “The people you see in a health club in January and February are folks who have been paying all year long; they just really haven’t been using it that often. If their New Year’s resolution is to drop weight, their thought process is they might as well start coming in.”

I’m guilty of it myself. Even as an avid exerciser, it’s easy to fall off the wagon between Halloween and December 31. So once I renew my monthly membership—at a discounted price, no less—I’ll be right there with you, swearing up and down that this is just the motivation I needed to start the new new year on the right foot. Luckily, Charlottesville has workout facilities out the wazoo, and most of them are more than happy to help you out with your resolution.

ACAC 

All three ACAC locations are offering “the gift of wellness” through December 31. For $50, try out a four-week membership that includes access to the pool, fitness centers, and group classes. You must purchase the special by the end of the year, but can wait as late as January 31 before starting. There’s also a $79 six-week membership available that must be activated before the end of December.

Carver Recreation Center/ Smith Aquatic & Fitness Center

Buy an access pass for two months at Carver or Smith and get the third month free. This offer begins on January 1 and runs through February 16.

Opal Yoga 

Vinyasa studio Opal Yoga is taking 20 percent off all five-, 10-, and 20-class passes up until December 31.

Anytime Fitness 

Ring in the new year with Anytime Fitness in Charlottesville and Ruckersville, which is offering new members an enrollment fee of $14 in honor of 2014.

Snap Fitness 

The 24-hour gym with two Charlottesville locations has dropped the $149 enrollment fee to $29, valid through the end of the year. Or, sign up for a six-month membership and get three months free, with no initiation fee.

CrossFit Charlottesville

Want to kick off the new year by running with a wheelbarrow of sandbags? CrossFit Charlottesville is offering new members a three-month, prepaid membership—which includes access to all classes—for $299 up until December 31.

MADabolic Inc.  

If you’re looking for intense interval training and conditioning, keep an eye on MADabolic Inc.’s Facebook page. Sometime between now and the first week of January, it’ll announce a two-day flash sale with a hefty discount on memberships and packages. New clients can also try 10 days for $10.

Gold’s Gym 

Starting January 1, the national chain will allow new members to pay their first month dues on committed terms with no enrollment fee, or they can pay an enrollment cost and not be under a binding contract.

For the seasoned veterans 

For those of you who are already active and looking for a new routine, a smaller, boutique-style gym may be up your alley.

“Unfortunately the industry has inundated people with New Year’s resolutions,” said Jana Burnett, co-owner of Success Studio Fitness Facility. “We definitely have more of a commitment thing instead of just membership.”

Burnett said Success Studio runs a special program in February, which she’s found to be the busiest month of the year for serious trainers who need to get back into a regular routine now that the kids are back in school and the holidays are over.

Other specialty studios and gyms like Solidarity CrossFit*, The Gym, and M2 Personal Training will hit the ground running in January, with regular priced boot camps and long-term goal-oriented programs. They also stress that members should prepare for a committed workout regime, not just a month-long stint.

ACAC is one of many gyms in the area offering discounted memberships and packages for new clients who want to drop weight for the new year.

*Solidarity CrossFit is not offering a New Year’s special, but enter discount code C-VILLE when registering online and get $10 off.