Categories
Arts

ARTS Pick: N.A.P. North American Poetry

When Juan Wauters emigrated from Uruguay to Queens, New York in the early aughts, he brought a love of music that was nurtured into maturity in the borough that brought us the Ramones. In his debut solo record, N.A.P. North American Poetry, Wauters delivers effortless hooks and sentimental lyrics with a heavy folk influence. The live show is a collaboration between Wauters, a rotating cast of diverse musicians, and “official artist” Matthew Volt, whose painted banners and manual light show heightens the performance to a mood altering, memorable experience.

Thursday 3/6. $7, 9pm. Twisted Branch Tea Bazaar, 414 E. Main St., Downtown Mall. 293-9947.

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News

Historic real estate buy, fire on the mountain, and revenge porn: News briefs

Below, find our latest news briefs—several stories we’ve got an eye on. Pick up C-VILLE’s print edition tomorrow and check c-ville.com daily for regular updates.

Spurzem ‘Wades’ in

The already bulging real estate portfolio of developer Richard T. Spurzem just got even bigger with his company’s purchase of 14 student housing buildings from Wade Properties in what is being described as the largest real estate transaction in city history.

According to a press release, Spurzem’s Neighborhood Properties Inc. purchased the properties, including several on Wertland Street and the luxury apartment building at 1029 Wertland, for a price that exceeds the $30.5 million assessed value of the properties.

The transaction makes Spurzem one of the largest property holders in the area with 750 units valued at approximately $100 million, according to the release, and it spells the end of Wade Apartments, which began exiting the market several years ago with the sale of Wertland Square and Jefferson Commons to Education Realty Trust.

Reached by phone, Spurzem declined to name the exact price he paid and said the deal has been in the works since November.

“This is just an investment,” he said. “We’ll keep renovating the historic buildings and the old houses on Wertland Street as they need it.”

Forest fire burns 150 acres in Shenandoah 

A fire burned more than 150 acres of Shenandoah National Park over the weekend before it was contained by firefighters and snuffed out by rain and snow, according to park officials and news reports.

The Rocks Mountain fire—located on the western side of the Skyline Drive about four miles as the crow flies from the Charlottesville Reservoir in Sugar Hollow—was first reported on the afternoon of Friday, February 28, when park personnel assessed it at 70 acres. The Riprap, Wildcat Ridge, and Rocks Mountain trails were closed as 91 firefighters from the National Park Service, USDA Forest Service, Virginia Department of Forestry, and Augusta County Fire and Rescue tackled the blaze for days.

Park officials said Monday the fire had been contained and was deemed safe enough to leave ahead of the storm that dropped rain and four to eight inches of snow across the area. The cause of the fire is still under investigation, and the trails in the burned area will remain closed until further notice.

Bell’s revenge porn bill passes in legislature

A bill sponsored by Albemarle Delegate Rob Bell making the distribution of “revenge porn” a class one misdemeanor has passed in both houses of Virginia’s General Assembly nearly unanimously, and now heads to Governor Terry McAuliffe’s desk for signing.

HB 326 would make it a crime to maliciously post nude images of another “without authority and with the intent to coerce, harass or intimidate the person.” The offense would carry jail time of up to a year.

“Once they’re posted, these photos and videos never go away and can follow someone for the rest of their lives,” said Bell in a press release Sunday. “The only way to protect the victims is to prevent the posting from happening in the first place. There have been entire websites devoted to revenge porn. But even if they are taken down, social media will always provide a way for someone to get these out to the public.”

Bell has acknowledged that the legislation was in part prompted by Albemarle Commonwealth’s Attorney Denise Lunsford’s request for a protective order against an angry ex-lover who admitted to posting photos of her online, though Bell said he never discussed the issue with Lunsford.—C-VILLE writers

Categories
Living

Overheard on the restaurant scene: This week’s food and drink news

Charlottesville’s own Starr Hill Brewery is teaming up with Athens, Georgia-based Terrapin Beer Company to create a new Belgian-style espresso stout, GAVA Joe. Pronounced “java,” the collaboration beer is inspired by a longtime friendship between the two companies’ brewmasters, and will be a medium-bodied stout with an alcohol level of about 6.9 percent, fermented with a Belgian yeast strain. The release date is Tuesday, April 1, so keep an eye out for it, and grab a pint while you can—only 150 barrels of GAVA Joe will be brewed, and will be available in draft only, out of one-half and one-sixth barrel kegs.

As if St. Patrick’s Day isn’t already an excuse to party, James River Brewing Company is rolling out a new beer for the occasion. On Friday, March 14, the weekend-long celebration will begin at 6:30pm with bagpipe music from Irish-American folk group Sean Fir, and the debut of brewer Kelby Barnhill’s new Irish stout, which will be added to James River’s lineup of 12 draft beers on tap at the tasting room at 561 Valley St., Scottsville. Saturday festivities will include door prizes, face painting for kids, and “most Irish garb” giveaways, and food will be provided by The Pie Guy and the South Fork Food Truck.

Wild Wolf Brewing Company, located southwest of Charlottesville in Nellysford, recently hit a milestone and went down in Virginia canning history. Last Wednesday, Old Dominion Mobile Canning filled the brewery’s millionth beer since the canning company’s inception less than a year ago. Wild Wolf was Old Dominion’s first client in April 2013, and has since grown to service eight breweries in Virginia and North Carolina. To put it into perspective, one million beers is 41,667 cases, or 167,667 six-packs. Or, just a lot of beer. 

Mudhouse Coffee has received yet another accolade to put on its resume. In a USAToday article published last Friday, the local spot with locations on the Downtown Mall and in Crozet, was named one of the top 10 best coffeehouses across the U.S. Coffee expert and “barista champion” Chris Deferio, who organizes the America’s Best Coffeehouse Competition at Coffeefest each year, described Mudhouse as having “the local art and the quintessential coffeehouse feel—and they have amazing coffee.”

He hasn’t been on the streets that long, but The Pie Guy is already making a name for himself. The Australian-inspired food cart, which serves up individual-sized pies with fillings ranging from chicken curry to bacon, egg, and cheese, has been named by scoutology.com as one of the top nine food trucks in Charlottesville, Richmond, and Washington, D.C. Other locals on the list include Mouth Wide Open and Carpe Donut.

We’re always keeping our eyes and ears out for the latest news on Charlottesville’s food and drink scene, so pick up a paper and check c-ville.com/living each week for the latest Small Bites. Have a scoop for Small Bites? E-mail us at bites@c-ville.com.

Categories
Arts

Interview: Béla Fleck and Abigail Washburn bring the family

Restless musical innovator Béla Fleck is known for taking the banjo on a wide range of sonic journeys. The 15-time Grammy winner brought his instrument to the outer limits of improvisational jazz with his lauded outfit the Flecktones and explored its roots in Africa through the documentary Throw Down Your Heart. These days, Fleck is keeping his musical interests close to home.

On his current tour, which visits the Jefferson Theater on March 6, Fleck will perform banjo duets with his wife Abigail Washburn, an accomplished songwriter and claw hammer-style player.

The duo pulls material from their individual catalogs. Fleck’s work dates back to the late ’70s when he first emerged as a progressive bluegrass expansionist who went on to join pioneering picking outfit Newgrass Revival before forming the Flecktones in 1988. Washburn emerged with the all-female string band Uncle Earl and also has two solo albums to her credit. The couple first toured together nearly a decade ago in the Sparrow Quartet. They put together the duo as a way to work together while taking care of their 9-month-old son Juno, who joins them on the road.

In between the family gigs, Fleck mixes in performances with various symphonies behind The Impostor, his banjo concerto that was released last summer on the venerable Deutsche Grammophon Records. Fleck checked in with C-VILLE Weekly over the phone before his appearance in town.

C-VILLE Weekly: How has the show with you and Abigail developed, the more you’ve played and had time on the road? 

Béla Fleck: We just get more and more comfortable and confident with it. Also, since we are now doing some recording together for a duo album, we’ve been able to refine arrangements and explore different combinations of instruments; always banjos, though, high ones [and] low ones. Before, we kind of just let everything happen. Now there’s a little more design.

The set list includes material from Abigail’s albums, banjo instrumentals of mine, some co-writes, a good bit of traditional material, and I get to do some solo banjo showing off, too.

Many spouses like keeping work life and home life separate. Jokes aside, since through your career you’ve collaborated with a range of amazing musicians, how would you describe the experience of collaborating with your wife?

I would agree that that would be excellent advice for most couples. But in the case of me and Abby, somehow it works. The trick is avoiding letting it become the only thing we each do. Because we both have several projects going on separately, this duo can be a meeting place for us, and it bonds us as a couple. Most of all, it keeps us together in the same place much more often with our baby boy, Juno.

What are some of the interesting dynamics of doing banjo duets?

It’s a lot of separate notes that lock together in a grid, which is different from how a lot of instruments work together. We can create a loping groove that is very unique.

Dynamics are crucial, and bringing forth a wide variety of tones keeps the banjos from becoming monotonous. At best it’s an ear and brain massage that invigorates the listener.

What inspired you to compose The Impostor and use the banjo in a classical context?

I love finding new contexts to attempt to make the banjo feel at home in. I hadn’t heard the banjo concerto that I wanted to play yet, so I decided to write it. It felt like a great opportunity to begin developing repertoire for banjoists and classical musicians to collaborate on. Performing in front of a symphony orchestra is an amazing experience and shows the banjo in a different light.

Your 1988 bluegrass album Drive is a favorite. Do you think bluegrass is something you’ll ever revisit in earnest?

I love bluegrass and still consider it my center. Even when I don’t get the chance to play it much, it still informs everything I do. And the rules of that music give me guidelines for understanding all other musical forms. I waited 10 years after Drive to make The Bluegrass Sessions, with essentially the same personnel. Now it’s been almost 10 years since The Bluegrass Sessions, so it’s time. I hope I’ll have something new to say, and something different to bring to the music when I make a bluegrass-oriented CD again. It’s on my mind and certainly will happen in the near future.

The last time you were in town, it was with the Flecktones at the Pavilion. What’s the outlook on the next time the group will record or play shows?

Flecktones are happily pursuing their separate agendas presently, but the band will reform again in the next couple of years. Exactly when, and what form that will take is yet to be decided, but we do all stay in touch, are on wonderful terms, and look forward to pulling our spaceships into the same orbit again soon.

Categories
Arts

Locally developed app looks to fill a niche in a crowded market

I’m tinkering with a new free app, and I’m totally hooked. I’m looking at my iPhone every five seconds to see if there’s a number next to the app icon, evidence I have the all-important new “notification.” I’m opening the app every five minutes to see if my feed has updated. I’m telling all my friends to get the app so it’ll be more fun for me. I’m doing all this to the extreme annoyance of my wife, who thinks I’m dangerously addicted to my smartphone.

I happen to be talking in this case about a new, locally developed social media/music application known as musx (pronounced myoo-ziks). But to be honest, this is a good description of my behavior with most social media apps. Good old @shea_gibbs on Twitter? I’ve “rebranded” myself twice and the posting history is so erratic you’d think I have a debilitating case of knuckle gout. Pinterest? I can’t even remember my username and password. Pinterest is still a thing, right?

So yeah, the future of musx for me is about as clear as the Cloud, but I’m certainly enjoying it right now. Developed by co-founders John Reardon and UVA law student Eddie Sniezek, both originally from the D.C. area, and supported from the industry side by Chris Keup, a producer/songwriter whose White Star Sound Studio is just outside Charlottesville, the app is a clever mash-up of a streaming music player and a social media-based music-sharing destination. It draws on YouTube content to allow users to find songs they want to share with their musx friends and provides a space for comments below the video-enabled player.

“Music is inherently social, but people share music in a different place from where they listen to it,” Reardon said. “That disconnect is why we left our jobs to pursue the app.”

Take all your friend’s Facebook updates about what they’re listening to on Spotify, for example. At worst, they can be annoying, maybe even pedantic—a bunch of people whose opinions on music you could take or leave showing you how cool they are by broadcasting what they’re listening to while they do data entry from nine to five.

Reardon isn’t willing to go that far (read: he’s not as big a jerk as I am), but he agrees it’s the lack of context provided by those posts that keep them from being effective. First, sites like Facebook don’t offer a fully functional music player alongside your friends’ recommendations. On musx, you can take a rec, click on it, and drop it into your queue or a playlist. Then you can listen to it at your leisure, “like” it, re-share it, comment on it, or pass it along through some other media outlet.

Second, musx is designed specifically for music sharing. Everyone you follow on the app should be someone whose opinion on music you’re interested in. It offers an easy way to weed out your little sister’s catalog of Katy Perry hits.

“Once you empower the person to elect to share something, you provide that context,” Reardon said. “On Facebook…it is totally diluted and means nothing to us. Why listen to one song as opposed to the 15 others someone just posted about?”

But, musx isn’t perfect, either. It was launched on February 13 for iPhones (with Android and web versions to follow), and glitches are still being worked out. Minor layout and button-clicking problems aside, the first big ding on the music player, for me, was that it lacked continuous play functionality when I put my phone to sleep or used another application. Reardon assured me this was intended to be a feature of the app and would be corrected. Still waiting, at least at press time.

Another hurdle? The success of the app is highly dependent on the number of people using it. It also helps if those people happen to like cool music. When I first created an account, Weezer’s “Say It Ain’t So” held the top spot in the popular songs category for a good 12 hours. Great song, but the last time The Blue Album was getting consistent airtime on my player was 20 years ago. Reardon said this chink in the digital armor might have been in part due to the app being picked up by several overseas publications and downloaded in more than 80 countries.

“There are people that are the tastemakers, but there are also people who are just using the app to listen to music,” he said. “That’s good to see.”

Reardon and the other musx principals have been tweaking the algorithm used to create the “popular” feed, and he’s confident “Surf Wax America” won’t be the next track to hold the top spot.

While musx relies exclusively on YouTube content for now, Reardon said the team is close to finalizing an update that will allow SoundCloud searches as well. He said users will be able to find just about anything they want once that’s complete, but what of all this streaming of free music? Who’s making a buck here, and who’s getting left out? Reardon said the app won’t rely on paid upgrades anytime soon, and he insists advertising will always be strictly music focused and stay out of the user’s way. Making sure there’s a seat at the soundboard for industry-types is Keup’s job.

“As a songwriter and producer, streaming services are a terrifying frontier,” he said. “But I feel we are coming at this from a well-meaning place. We are going to enable everyone, from the content creators to the venues, to conduct their business more efficiently.”

If they’re successful, they’ll be in the minority. Reardon readily admits apps have a high failure rate, and music apps perform even worse. Regardless, it stands to be a pretty fun ride. I wonder if I’ll be there to see it all.

Download the musx app here and tell us about it in the comments section below.

Categories
News

Education Beat: County, city schools grapple with budgets

Albemarle County Public Schools parents and teachers spoke out in support of the school board’s $164.3 million funding request last week before the Albemarle Board of Supervisors. The division is $5.8 million short of what the school board says it needs.

Cale Elementary principal Lisa Jones said failing to fully fund the schools could put innovative programming like early Spanish instruction at risk. Anne Geraty, who teaches at Meriwether Lewis Elementary, also advocated for full funding, and warned against upping class sizes to save money—a move the division is considering to save money.

“It boils down to teachers who are, child by child, building relationships,” Geraty said. “That is simply not possible with large class sizes.”

Not all were in favor of funding the schools’ request in full. County resident Robert Hogue said the county should make cuts, arguing that neighboring localities envy Albemarle’s pay rates.

The School Board is expected to adopt a budget, based upon input from the Board of Supervisors, in April.

The Charlottesville City School Board last week adopted its funding request of $73.2 million—about a four percent jump from last year’s overall budget. The Board hopes $45.8 million of that will come from City Council, which represents about a $1.7 million increase from last year’s ask. The budget proposes a net increase of 5.44 new full-time employees. About one percent of the budget—approximately $500,000—is for new initiatives.

The most significant of those revamps professional development by relocating curriculum and teaching specialists from central office to the schools. The move, which comes with a $93,000 price tag, would cut 6.8 administrative coordinators and add 10 instructional coaches who would work with teachers across the division.

Charlottesville High School teacher Margaret Thornton said the structural change could lead to a lack of continuity. Her own research on the coaching model showed most coaches had 20 to 30 teachers under their purview.

“At CHS, if you assigned two coaches to this school of one-hundred ninety-something teachers, we’d have almost 100 teachers to a coordinator,” Thornton said, “and I think it would become very difficult to have that continuity between grade levels, and we certainly wouldn’t have that continuity between schools.”

School Board member Jennifer McKeever—the budget’s only ‘no’ vote on the professional development move—also expressed concern about the change.

“If we could have everything we want, we could have both,” Superintendent Rosa Atkins said. “But the reality is that the funds and resources we have today don’t allow us to do both.” Charlottesville presented their funding request to City Council on Monday, March 3. City Council is expected to adopt a finalized budget in April.

CHS students stay active during class

Students at Charlottesville High School are walking on treadmills, pedaling small exercise bikes, and sitting on yoga balls while completing coursework. The equipment, awarded to marketing teacher Megan Maynard’s classroom by a grant from the school’s PTO, is aimed at promoting health inside the school day. “It can help with cognition, it can help with focus and concentration, not to mention students who are active learners and like to be moving,” Maynard said.

Eleventh grader Tianna Washington is one of those students. “I like having the pedals because we sit down all day,” Washington said. Eleventh grader Alejandra Cole said she likes using the equipment in class, but also comes to Maynard’s room during lunch. “It’s fun because of the different things you can do,” Cole said. “You’re basically working out when you’re in class.”

Maynard said adults nag youth for only playing video games, but when given opportunities, students jump at chances to be active. “They’ve asked important questions like ‘How many calories have I burned?’ and ‘What does it means that my heart rate is a certain level?’” Maynard said. “Important questions for health.”

Nikki Franklin. Contributed photo.

MEET YOUR EDUCATOR: Nikki Franklin, Kindergarten teacher, Jackson Via Elementary School

What is the most challenging aspect of your job?

My most amazing task is meeting standards (local/state/federal), while still maintaining high expectations, cultivating a nurturing yet individualized classroom and helping students develop a lifelong love of learning.

What’s the most common misconception about your job?

To the casual observer this may seem like an effortless job. Yet, I analyze student performance and address specific learning needs daily, hourly, and minute-to-minute.  My decisions directly impact students’ preparedness for future learning experiences.  I serve as a role model, mediator, tutor, cheerleader and sometimes counselor.  I enjoy my job, so difficulties aren’t always apparent.  Few recognize the finely honed skills that are required in the classroom.

Where do you see the teaching field in five years?

The outlook is positive.  As long as all dialog is focused on student success, the future of education is secure.

What outside experience prepared you best to become a teacher?

I’ve been a teacher since I was a young girl.  As the eldest, my performance was the household benchmark.  I helped siblings meet performance goals as their “Big Sister.”  I helped with homework, re-taught skills that I had mastered and provided encouragement.  The challenge was to ensure my siblings’ academic success. Being a “Big Sister” prepared me for teaching.

Categories
Arts

A grump’s review of the 2014 Oscars

There’s a line in the song “So Lonely” by The Police that seems relevant when discussing the Academy Awards: “No surprise, no mystery.” Was anyone surprised that Chiwetel Ejiofor, who gave the best performance in the most important movie of 2013 (that’s 12 Years a Slave), lost out to Matthew McConaughey, who gave a nearly-as-good performance in Dallas Buyers Club?

Was anyone surprised that Alfonso Cuarón won Best Director for the paper-thin, no-character-development, seen-it-before Gravity over 12 Years a Slave’s Steve McQueen? Nah. (Or at least probably not.) Remember when considering your Oscar chances, kids: Space adventures beat the suffering of millions of people.

Maybe that’s the cynic in me, but at least some things about the Oscars did surprise: Jared Leto’s hair was wonderful. Ellen DeGeneres’ pizza gag—which tanked on multiple levels—was saved for a moment or two by Brad Pitt, who started handing out paper plates.

Then there was John Ridley’s win for Best Adapted Screenplay. The win itself isn’t a surprise, but it did surprise me that a guy who used to be a sitcom writer (and wrote the story for David O. Russell’s early movie Three Kings) would become one of the most sought-after scribes in Hollywood. Lesson to Ted Cohen and Andrew Reich, creators of “Work It,” ABC’s famously unfunny 2012 men-in-drag sitcom: There’s hope for you.

Other surprises: The tone deaf (literally) performance by Bette Midler of the 1980s tearjerker “Wind Beneath My Wings.” (At least they kept the period keyboard sound that dates the song so badly.) John Travolta’s odd hairline was upstaged only by his garbled pronunciation of Idina Menzel’s name. Menzel sang “Let It Go,” which beat Pharell’s superior “Happy” for Best Original Song. (His performance was better, too.)

All that griping leaves out one salient point. The Academy got something right in an era when it gets so many things wrong. As my friend and fellow film critic Kristofer Jenson said on Twitter last night, “12 Years a Slave wins. I don’t tell you this enough, society, but I’m proud of you. #Oscars.”

It’s important to note that, for once, the Academy, as they loftily call themselves, made the correct choice. I’d been bracing for a Gravity win for Best Picture of the Year (or worse, American Hustle) and was pleasantly surprised to see a beautiful—if heartbreakingly difficult—picture such as 12 Years a Slave get the recognition it deserves.

And “deserves” is a difficult word for awards such as the Oscars. This is the same rich-people-partying larf-fest that encourages the world’s most doofus-like selfie be retweeted more than any other photo in history (see above).

Such is life, and it’s the little victories that count. The Oscars are a sham, but they’re a sham that rewards people like Steve McQueen, Slave’s director. That picture’s big-name producer, Brad Pitt, had the good taste to step aside and let McQueen talk after a sincere introduction. And if the trade-off is that a dumb photo is in the headlines this morning, that’s OK. At least Lupita Nyong’o, Best Supporting Actress winner for 12 Years a Slave, made it in the pic.

Categories
News

What’s happening in Charlottesville and Albemarle the week of March 3?

Each week, the news team takes a look at upcoming meetings and events in Charlottesville and Albemarle we think you should know about. Consider it a look into our datebook, and be sure to share newsworthy happenings in the comments section.

Take note—the weather may shift the below schedule. Check back with us for cancellations and updates, and follow us on Twitter (@cvillenews_desk) for the latest.

  • The Albemarle County Board of Architectural Review meets at 1pm Monday at the County Office Building on McIntire Road.
  • The Charlottesville City Council meets from 7-11pm Monday in council chambers. Money is on the agenda: There will be presentations on the city school board’s adopted budget as well as the city manager’s proposed budget. Also up for discussion are a report on UVA housing and an amendment to a Ridge Street land purchase agreement. The Council gathers again from 5-7pm Thursday for a budget work session.
  • The League of Women Voters holds a community dialogue titled “Child Care: Cost, Quality, Consequences?” from noon to 1:15pm Tuesday in Room A of the Jefferson School African American Heritage Center. Speakers include Charlottesville City Councilor Kristin Szakos and Children, Youth & Family Services manager Gail Esterman.
  • The Albemarle County Board of Supervisors holds a school budget work session from 9am-noon Tuesday, and then gathers for a regular meeting from 9am-4pm Wednesday in Lane Auditorium at the County Office Building.
  • The Metropolitan Planning Organization meets from 2-4pm Thursday in the Water Street Center. The regional transportation planning group will address the Long Range Transportation Plan as well as other matters. This will be the first meeting of the MPO since the Federal Highway Administration effectively put plans for the Western Bypass on ice.
  • The Charlottesville Bike and Pedestrian Advisory Committee meets from 5-7pm Thursday in the basement conference room at City Hall.

 

Categories
Arts

Future Islands finds its place in the EDM sea

Throw the word “post” before the name of a music genre, and it can pretty much mean whatever you want it to. The members of Future Islands, an act caught somewhere in the limbo between indie rock and electronic dance music, once called themselves a “post-post” band.

Fortunately, the three-piece outfit is willing to get a little more specific these days.

“We describe it as post-wave dance music,” guitar player Will Cashion said in a recent C-VILLE Weekly interview. “It’s new wave and post-punk.”

O.K., so specificity may not be the band’s strong suit. What is its strong suit is bringing a passionate, theatrical spin to what can, at its worst, be a sterile genre. Mostly, the effect comes from the strained, dramatic vocals of Sam Herring, an otherwise unassuming, moonfaced boy-next-door who manages to hold audiences in the palm of his hand.

Herring said there’s more to Future Islands’ passion than his singing voice, though. “Will has a certain way he plays the bass, and then there are some soulful and R&B vibes that have been creeping in over the years,” Herring said. “Also, for a band that has electronic drums and keyboards, we have a very soulful way of finding sounds.”

That means programmer and keys player Gerrit Welmers doesn’t rely on the effects you might find on the Yamaha keyboard you got for Christmas in 1986. Herring said it also means trying to craft songs that have some measure of humanity in them and avoiding the “cold, monotone sound” of a lot of dance music and techno.

It’s not entirely unlike the efforts of EDM’s pied piper Daft Punk, who Cashion says dominated the 2014 Grammy Awards by “taking the electronica out of it” and relying on retro disco sounds to tap into the mainstream.

According to Cashion, both Daft Punk and Future Islands are part of a move toward a sort of musical homogeneity that will undoubtedly introduce a whole lot more “posts” into the vernacular of genre.

“I don’t know if it’s even considered electronica anymore,” he said. “There are country bands that are incorporating keyboards and drum machines. It’s creeping into everything.”

Likewise, Future Islands’ sound has crept into a variety of different areas as the years have floated by. Where the band started more as a punk outfit that just happened to use keyboards and electronic elements, the five-piece has trimmed down to a trio, focused its sound, and polished its songwriting to produce a more accessible, poppier catalog. Herring said he’s changed as a singer, as well. He once employed a gravelly growl along with his theatrical croon more readily than he does these days.

“There’s less angst in me. I think that’s just something that comes with growing old and maturing,” Herring said. “Even on [2011’s] On the Water, things were starting to cool.”

Herring’s growl still comes out occasionally, but the overall effect on Singles, the Future Islands album due out in late March, is a collection of more radio-ready tracks. Herring said he and the band reengaged with songwriting for the album, and he’s said in the past that the name references the fact that each song is intended to be able to stand on its own as a single.

Does that mean Future Islands has lost something in the way of cohesion from song to song on its latest LP? My advanced copy didn’t indicate it, and Herring himself believes the decision to get away from “complete albums that ebb and flow and chase their tails” has turned out to be a good one.

“The thing that unifies the album to me is that each song really has its own world,” he said.

Charlottesville will get a chance to hear some of the new tracks for the first time on the heels of Future Islands’ European tour, with the band flying in to play its March 23 date at the Southern. It’ll be an appropriate homecoming, according to Herring, as the band’s traveled down to this hamlet many times over the years from its hometown of Baltimore.

The Southern will be a larger venue than Future Islands has played here in the past—and had “some crazy nights”—but Herring said the contrast between an American and a European crowd will be all too familiar.

“European audiences aren’t quite as rowdy. They are more captive and pay more attention to what you’re doing,” he said. “At a sold out show in America, you have people going ape. They’re just having a good time with their friends.”

The audience at the Southern might be advised to keep an eye on the stage, though. Future Islands is a band that’s best understood in a live context. Where Herring can come off sounding like he’s doing a mediocre Phantom of the Opera rendition in some of the band’s studio work, it all makes sense when put together with his stage presence.

“A lot of bands worry more about the record,” Cashion said. “We’ve always wanted to get out of the garage and play shows. That’s the most pure form of making music.”

http://www.youtube.com/watch?v=_vI_kx4J8Vc&feature=c4-overview-vl&list=ALHTd1VmZQRNp-dy0eEnCH0vsgmGoVtO5l