Tag Archives: atlanta music

Atlanta Sound Garden: Mix 3 The Female Voice

This edition of Atlanta Sound Garden is dedicated to the female voice of Atlanta music. The song selections feature female vocalists in tropical indie, ambient pop, punk-tinged experimental metal, and electronic dance.

Adron accomplishes a lush layering of chimerical atmosphere, including bird whistles, waves, and other textures, on “Timid Young Ones,” with her rich, intoxicating voice soaring above it all. Her latest release, Burdwurld is a five song escapade into enchantment and down rabbit holes. Download it for free from her website. http://adron.muxtape.com/

Vocalist, Lindsey Harbour, of Thy Mighty Contract, has the rare ability to sound sweet and sick, in the same song. I adore “Two Cities” for the deceitful bounciness at the start of the track, which soon gives way to quick, erratic drumming that leads into the angst-ridden screams of Harbour, who bleeds out with no remorse, over raging guitars, before the melody finds its way back. Get their self-titled album for free on BandCamp.

Atlanta Sound Garden: Mix 3 The Female Voice by themoonandpluto

The undertone of Nerdkween‘s song,”Let Me Go,” from Profitandloss, is equally melancholy and grievous, even as the lighthearted melody might suggest serenity, especially since Monica Arrington’s voice could soothe the grumpiest among us. The instrumentation on the track is minimal, featuring only a guitar and distant tambourine, heightening the magnificence of the vocals. Nerdkween will be playing at Carroll Street Cafe on Monday, February 7.

La Chansons recently released a remix of “X Marks The Spot” off their 2010 album, King and Queen of the Dance Floor via Stickfigure Recordings. Carson Keller seductively shapes the melody on the remix, called “Read the Map,” as the electronic beats and loops create a dismal  and penetrating dance track. Between the groove and sway of the rhythm and Carson’s enticing voice, you’ll be having fun.

“Tall Shoulders” is an airy little track from Lille, off of the 2010 debut release by the same name via Whale Heart Records. With sparse keyboard tinkles accentuating a mellow ukulele, Grace Bellury concocts a daydream in which her stunning crooning guides you deeper into tranquility. Having recently opened up for The Dresden Dolls at The Buckhead Theatre, Lille is set to mesmerize beyond the local sphere.

Nadia Lelutiu

Record Review: Shathouse Rats ‘Blood On Yer Shoes’

Dark, raw, and sinister, Shathouse Rats puts a bluesy spin on dixie-tinged garage rock, laden with psychedelic reverb, a raging organ, and the essence of  untamed voodoo rock. Blood on Yer Shoes is a thoroughly uninhibited 6-song experience that comforts the dark corners of your soul, inviting you to dance with your demons without fear of getting “blood on your shoes.”

“Roshambo” explodes as the opening track, like a ferocious climax, with Matt Shat’s unrelenting energy spewing forth through savage vocals, while the keyboard swells and swirls between prominent, deep bass lines and a steadying tambourine. “Die Alone” begins to slow, just enough to maintain a sonic haze, while thunder roars in the background of Shat chanting, “No matter where you go, you’re going to die alone.” The moody and somber, “Stomp Splatter Spew” revels in the shadows of love, Continue reading “Record Review: Shathouse Rats ‘Blood On Yer Shoes’” »

The Head Talk ‘Stockwood’

The Head are a young Atlanta band that present an old-school, piano-driven power-pop sound delivered by Jacob Morrell (guitar) and twin bros, Mike (piano, bass, lead vox) and Jack Shaw (drums, lead vox). The group will be releasing a new EP on January 18, named Stockwood, with a pre-release party going down January 15 at The Vinyl. Stockwood is a 3-song preview of the upcoming full-length album set for release in May 2011.

The title track, “Stockwood” is a little bit Ben Folds, a little bit Elton John, and highly reminiscent of Jellyfish or The Posies with dynamic changes in song structure from start to finish and an upbeat, melodic backbone that keeps the energy up. When asked what the title song refers to, Jack Shaw revealed that it’s just the word “Woodstock” switched from back to front and, “There’s no connection between the song and the event of Woodstock. It’s just a crazy title for Continue reading “The Head Talk ‘Stockwood’” »

Atlanta Sound Garden: Mix 1

Listen to 5 very different sounds from Atlanta bands that you should know.

Young Orchids

Nomen Novum (free download on website)

A.Grimes (free download on Bandcamp)

Siberia My Sweet

Efren
Atlanta Sound Garden: Mix 1 by themoonandpluto

Atlanta Music Writers Roundtable 2010 Present Year-End Best

In anticipation of 2010 ending and the eventual “Best of” lists that come out, a handful of local music bloggers were invited by the creator of Little Advances to participate in a collective discussion of the best in music this year. What ensued was an email thread of our responses to a few questions that we agreed upon before getting started.

The other bloggers involved in this roundtable  are:

Denton from Little Advances
Rube from Atlanta’s A-List

Chuck from Dead Journalist
Moe from Latest Disgrace
Emily from Wholly Roller
Tim from I’m a Bear! Etc
Davy from Ohmpark

We each responded to a series of questions:

1. General discussion of the “Best of” music for the year, nationally and locally
2. Best live shows of 2010
3. Predictions of breakout artists in 2011
4. Lightning Round: one response from each blogger to a series of poll-like questions.

We’ve decided on a schedule to post each blogger’s response to each question. The responses for the first question will post on Monday 12/20, followed by #2 on Tuesday, #3 on Wednesday, and #4 on Thursday. Two bloggers will host a series of the responses on each day.

Atlanta Music Writers Roundtable 2010 Schedule:

Monday 12/20 – Wholly Roller and Ohmpark

Tuesday 12/21 – Latest Disgrace and Atlanta’s A-List

Wednesday 12/22 – Little Advances and I’m a Bear! Etc

Thursday 12/23 – Dead Journalist and The Moon and Pluto

It has been a blast getting together with these great writers and awesome folks for some mindshare! For me, it’s a great ending to this pretty great year in Atlanta music.

Nadia

Attention System – New Video Release for ‘Alibi’

Local electro-rock lords, Attention System have just released a new video for the song “Alibi” off of their last album, Wait For My Signal. The video is shot and directed by Todd Crowe, who is an awesome photographer and also helped on the filming of the rockumentary, Rebel Scum. Check out the video below:

Record Review: Free Ticket ‘All Thumbs’

Allusions to the magnificence of rivers, mountains, and trees is prominent on the debut album, All Thumbs, from Atlanta band Free Ticket. This imagery is magnified by the dreamy, hazy atmosphere created by guitar reverb, steady drumming, and hypnotic, albeit slightly monotone vocals.

The theme of the record seems to revolve around having to take the bad with the good, or that the darkness is as influential in our being as is the light. The concept of duality is imitated in song as the music moves from airy and mesmerizing to frantic, psychedelic, and unrestrained. These transitions act to Continue reading “Record Review: Free Ticket ‘All Thumbs’” »

Record Review: Charges – ‘Consequentialist Communique’

If the title of Charges’ 4-song 7”, Consequentialist Communique, gives off the vibe that you’ve got something coming to you, the music doesn’t disappoint. The consequence you face is an assault of brazen punk rock that benefits from an injection of 60’s-style psychedelic overtones, created by the resolute use of a Farfisa organ and Rhodes piano.

Imagine The Door’s keyboardist playing with Rancid and you get a feel for Charges. Vocalist Mick Winters emits brash and gritty vocals, with curt charisma full of conviction and stamina. The interchange between prominent, fast-paced bass lines and crashing cymbals, infused with fuzzy, spiraling keys reinforce Winters’ stronghold on the listener. The result is a gripping and relentless record that never slows down long enough to let go. Continue reading “Record Review: Charges – ‘Consequentialist Communique’” »

Artist Spotlight: Dead Rabbits

Taking a cue from The Ramones, Dead Rabbits strive to keep their music simple and honest. In the short time that this Atlanta-based rock duo has been together, they have garnered multiple comparisons to big names in music, including Led Zeppelin, The White Stripes, and The Black Keys. Dead Rabbits play bluesy garage rock with noticeable classic rock overtones, as evidenced in the standout track “Freedom” from their album The Rabbit That Roared. The hooks and raw energy transmitted by vocalist/guitarist Joshua DeRosa on this track are genuine and fervent, while drummer Lucas Fuentes explodes concisely alongside, giving the song no room to exist as an artifact of influence.

Though DeRosa and Fuentes have played together for years in other bands, Continue reading “Artist Spotlight: Dead Rabbits” »

FEATURE: Judi Chicago – Atlanta Fun, Chicago Style

[slideshow]Judi Chicago is not actually from Chicago, nor are they female. They are simply three guys who adore Chicago house music and embrace their feminine sides, and thus have adopted a name that embodies both attributes. There is, in fact, a woman named Judy Chicago from whom they borrowed the name. The band describes her as “very transformative, very showbiz, very confrontational.”

Appropriately, this Atlanta-based band lives up to their name. Judi Chicago brings the party, and provides their own style of house music. It’s a blend of electronic sounds and textures with experimental, art-punk, psychedelic, pop, and disco soundscapes creating a mash-up of vivacious and witty music to get you sweaty on the dance floor. Judi Chicago’s live performances have been their catapult to success, as the trio unleashes the unexpected on stage while the audience falls in love with them over and over again. Front man Ben Coleman sums up the character of Judi Chicago, as he describes their sound. “We don’t see ‘fun’ and ‘credible’ as mutually exclusive. You don’t have to frown to be legitimate.”

Judi Chicago uses an arsenal of instrumentation to deliver the hooks and beats of their upbeat dance tunes. Ben Coleman and Travis Thatcher share vocal, guitar, and keyboard duties, and James Joyce is the primary source of rhythm on drums and percussion. Still, the band implements a layering of dynamic sounds through their multi-instrumental activity on bass, computer programming, sitar, a noise generator, modular synths, air-horn plus a multitude of other devices, including homemade synthesizers and even pots and pans. The colorful nature of the band’s lyrics add to their playful and obscure style, as they sing lines like “stick it in your burger hole,” “too many murders on the dance floor,” and “I want a hot dog in a bun.”

Coleman comments on the motivation behind their songwriting style, saying, “We play with words in the same manner that we play with sounds. It’s fun to defy expectations, mutate lyrical cliches. Most of the lyrics are word paintings: just because it’s funny or silly doesn’t mean it’s not true. I hope that the listener will enjoy the rhythm and cadence of the words, get caught in the vocal hooks, and will hopefully get some feeling of the meaning behind the words. Dance music is often deceptively avant-garde, and we enjoy the chance to get surrealist or symbolist whilst making people move their bodies.”

Bright Lights, Fun City is Judi Chicago’s newest LP, released this spring on their own label, Biscuits and Ravey. Thatcher describes the inspiration behind their latest release, revealing “I had just finished re-reading Bright Lights, Big City by Jay McInerney at the time this album was finished, and they seemed to complement each other well – late nights, substance abuse, family problems, job problems, being blinded by the daylight after all-night parties. This is a party record for our flawed, imperfect lives.” The band hooked up with producer Ben Allen (Animal Collective, Gnarls Barkley, The Constellations) for the new album, and they didn’t pull away from his influence on the new recordings. Allen sold the band on embracing their pop side. As Coleman puts it, “There’s a reason why chorus follows verse follows chorus, and if it’s good enough for AC/DC, it’s good enough for us.” Though Judi Chicago has accepted the rules of pop, they continue to produce a sound outside of the current wave of indie music. Coleman describes the band as “a square peg failing to be jammed into a broad range of round holes,” which he admits makes them harder to market, but “more satisfying to experience.”

The “experience” of Judi Chicago has earned them a vast fan base. The band takes full advantage of the opportunity a live setting offers to interact with the audience. “I’ll be damned if a Judi Chicago show is ever going to be at a sit-down dinner club,” says Coleman. Judi Chicago exudes an energy that penetrates the room, keeping their live shows spontaneous, unpredictable, and always exciting to the audience. Coleman expounds, “We never know what’s going to happen live, beyond drawing up a set list and going for it. What’s the point in playing live unless you can have fun and make every show different? Otherwise, you’re just a puppet reciting a dead script. People want to be stimulated and challenged and we do that.”

Their most notorious stage antic is stripping down to their underwear during their set, and though this hasn’t happened in a while, it’s become solidly associated with what you can expect from a Judi Chicago show. The band stands firm on the importance of not taking themselves too seriously, as Coleman asks, “What is wrong with undies? Let’s all loosen up a little, eh? I find that if you hit the stage in your underpants, or in any other special ‘performing’ garb, you will probably deliver a more compelling performance. It puts you in active mode. Like Kabuki! No one asks Sumo Wrestlers why they compete in their undies. Also, Iggy Pop did it, so why not follow the way of the golden master? That’s enough on undies.”

Judi Chicago plans to take their new record, Bright Lights, Fun City to Coleman’s native England. This will be the band’s third trip to the U.K., where dance music is fervently embraced and Judi Chicago gets to show off their stuff to their countrymen. The guys really love taking their music overseas, where Coleman says, “There isn’t the same prejudice against electronic instruments. There are electronics in guitars too, you dummies!” Thatcher agrees and adds, “Unless you are playing in an orchestra, all music is electronic on some level.” A particularly impressive aspect of Judi Chicago, according to Joyce, is that “the band is so dynamic that we can play to almost anyone and get everyone into it and put on a good show. We can cater to a more reserved electronic crowd, a full-on bar rock crowd, kid’s shows, house parties, festivals, galleries, restaurants. It is definitely the most universal, all-encompassing band I have ever played with.”

In a big city like Atlanta, with a lot of small scenes, Judi Chicago shies away from identifying with any one circle. Instead, they stay involved in Atlanta music by supporting and collaborating with a variety of the local bands, including Noot D’ Noot, The Coathangers, and The Selmanaires. In Judi Chicago’s perfect world, music would benefit from the deconstruction of boundaries associated with any one scene. As Thatcher exclaims, “I would love to see a proper festival that has every style of music and every sort of kid in town come to it. It’s very cliquey here.” No matter what you’re into, don’t miss the party when Judi Chicago comes to town.

http://www.judichicago.com

Photographer: Erik Dixon

By: Nadia Lelutiu