No Longer Unknown: The Music and Beyond

Joe Fowler, Staff Writer

It was just past 3:30 in the afternoon on May 27 when I arrived at the dig site to meet my colleague, Rob Richmond. Archaeology became a trying trade in the new millennium. The internet obscured the truth in an opaque haze of media lies and conspiracy theories. But, there we were, unearthing the remnants of a mythological land known as the’90s music scene.

“Music isn’t as adventurous as in the ’90s,” said Richmond, leading me into the Bay 1 recording studio off of East Market St.

I was in no position to argue with the man. Since hearing about the return of Superunknown, a’90s cover named after the now classic 1994 Soundgarden album, I had spent the better part of a week chasing him and the band’s bassist Morgan Moran because they knew far more on the subject than I did.

Richmond, guitarist for the band, promptly engaged in a discussion of music and its reflection of society over the last few decades. His perspective on both the ’80s and the new millennium consisted of shallow lies and false facades with radio playlists to match.

But, in the 1990s, Kurt Cobain echoed the disillusionment of a generation with a single dismissive line: “Oh well, whatever, nevermind.” Groups like Rage Against the Machine taught their fans that, “What we don’t know keeps the contracts alive and movin’.” Singers like Maynard James Keenan of Tool urged fans quite blatantly to, “Try and read between the lines,” which led millions to either press repeat on the CD player or to rewind the cassette tape.

Richmond doubted that mainstream music would ever return to that level of honesty.

“There are a great many people who have a financial stake in keeping people dumb so they can sell them crap and say it’s art,” he said.

Richmond and I reflected on our teenage years for nearly an hour before parting ways. We agreed to touch base later that night. Superunknown was headlining an EP release event for Pale Blue Dot, another local band at the Ante Room later that night.

Live with the Superunknown

I arrived at the Ante Room late as per my regular schedule. I smoked a cigarette just outside the door. On the sidewalk, I could hear the sound of a female vocalist singing “Sweet Child O’ Mine” by Guns and Roses. I walked into a full house and viewed the stage with wonder. The band playing, Vertigo, did not consist of musicians in their mid to late 30s. They were teenagers, high school age.

That filled me with hope and awe; Awe at the talent the musicians possessed at so young of an age and hope that maybe there really was a bright future for rock ’n’ roll. The audience seemed to echo that sentiment.

Morgan Moran, bassist for Superunknown, spoke with me later in the weekend about the young musicians. Stacy’s Music in Charlottesville assisted the young members of Vertigo with a series of rehearsals and preparations for the show with an ongoing program called Highway to Rock.

“The bass player approached me to let me know that the reason she started playing bass is because she saw me playing with Superunknown last year. So touching, I had no idea that playing in a cover band would be an inspiration to young folks,” said Moran.

Pale Blue Dot, a local alternative rock band, took the stage after Vertigo. Their music ranged from Pearl Jam covers to original numbers including two particularly memorable pieces with mellow grooves that I easily found myself lost in.

But, lost was a place I could ill afford to remain in. I busied myself chasing after Richmond and Moran for last minute comments and arrangements before Superunknown took the stage.

The crowd anxiously anticipated the performance. It had been almost a year since the band went on hiatus. Other projects, family matters, and day jobs often made getting together a challenge, according to Richmond. Lead singer Bryce Fletcher joked about the subject two songs into the set by saying he was out of shape after time away. All five members of the band provided an endless onslaught of energy well past the midnight hour, covering songs by Weezer, Nirvana, Pearl Jam and many other alternative bands from the ‘90s.

They ended by caving in to demands from the audience. For nearly half an hour cries of “Tool! Play Tool!” floated through the air. And indeed, fans of Superunknown have come to expect Fletcher and company to deliver on that request. And Superunknown always obliges.

I finally left the Ante Room after two in the morning. When I woke up that day, I expected to write one article on one band. Instead, I was treated to the past, present and future of rock music. One thing I can say for certain is that anyone looking to say, “I saw them before they were big,” can do so easily. Turn off the radio. Shut down the computer. Show up live.

Superunknown band bio provided by Rob Richmond

For years, Cory Teitelbaum wanted to put together a band to pay tribute to all of the music that influenced him as a young musician: Alice in Chains, Pearl Jam, Soundgarden, Nirvana. In 2010, after years of playing with numerous bands from all over, he decided to finally pull the trigger, and contacted long time friend Rob Richmond to help him organize the band under the name Superunknown.

The two guitar players had little trouble finding people to fill out the roster, contacting former band mate Bryce Fletcher on vocals, and talented multi-instrumentalist Morgan Moran on bass guitar. Jamie Booth solidified the lineup in 2011, and the band has been turning heads ever since!

Known for spot-on renditions of the great bands of the alt-rock era (from Lit to Tool, and everything in between!), and producing an engaging and entertaining show, Superunknown isn’t so unknown anymore!

Band Links:

Superunknown- https://www.facebook.com/superunknownband/

Pale Blue Dot- http://palebluedotband.com/

Vertigo (Highway to Rock)-  https://www.facebook.com/stacyshighwaytorock/

Photo credit: Clara Castle- http://ccastle-photography.com