Potential Enemies

by Virginia Reed

supported by
Samuel Meeker/Locust
Samuel Meeker/Locust thumbnail
Samuel Meeker/Locust To me the essential angst and frustration endured by those afflicted with disease of perceptive thinking is verbalized as only a true sufferer of said malady would.
Plus the band itself is something I respect artistically from any angle or piece of work. Cheers
ian montgomery
ian montgomery thumbnail
ian montgomery Straight up rock 'n roll, this is such a great fucking album I can't stop listening to it. Buy it. Now. Favorite track: What I Learned From Getting Shot.
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about

Virginia Reed’s name, as the story goes, originated from the discovery of a portrait at an estate sale of a ghostly figure that founding member Keith Hendriksen felt he had encountered earlier in life—a 1940’s painting of a woman wearing, peculiarly for the time period and style of art, a cowboy hat. Where many band names seem obscure, irrelevant, or downright intentionally odd, this particular choice manages to encapsulate perfectly the band’s ominous, mysterious, vaguely dark sound.
The Los Angeles-based band’s second album, “Potential Enemies”, haunts and howls, delving into the human psyche with brooding guitar lines and intense vocals; there is a definite feeling of past struggle and ongoing turmoil being unearthed and confronted throughout. A history of vices violently spill from lyrics which reinforce everything the music already emits on its own, and carefully unravels a story that keeps itself shrouded in some ambiguity, starting with the single and opening track “What I Learned from Getting Shot” and leading deeper into a lyrical labyrinth from there with “The Denouement”, “Tie a Rope”, and ending with “The Work of a Stranger”.
All of this dark verbiage is not to say that there isn’t also an element of fun to “Potential Enemies”—there is. From the swirling, surfy guitar line at the outset of “All These People” to the upbeat drumming in “Young Punks”, Virginia Reed undoubtedly makes music that is impossibly hard not to move to.
Of course, that is a key part of what the band is able to capture about trouble: it wouldn’t be so alluring if there wasn’t something so wickedly playful about it.

-Becky DiGiglio

credits

released February 10, 2015

Bryan Hamilton-Drums
John Klein-Guitar
Jeff Watson-Bass/Vocals
Keith Hendriksen-Guitar/Vocals
Manny Nieto-Guitar on Young Punks

Recorded/Mixed: Manny Nieto @Estudio, Los Angeles
Mastered: Dave Cooley (www.elysianmasters.com)
Album Art: Albert Reyes (www.thealbertreyes.com)

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Virginia Reed Los Angeles, California

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