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Welcome to CL's 2018 Music Issue

The Atlanta music scene, like the city itself, is on the cusp of great change

Cl June Cover 060818 WEB
Photo credit: ICON ATLANTA

Atlanta’s collective subconscious is speaking loudly through its musicians.

As I often say, if you really want to understand a society — and that’s any society that has come and gone throughout history — just look at what’s happening within its pop culture. Listen to its music. It’s the natural extension of what’s on everybody’s mind, whether they’re talking about it or not. This is a universal truth, certainly for America, from the era of patriotic Civil War songs to the psychedelic rock of the ’60s, and the same holds true as Donald Glover’s “This Is America” paints a brutally honest picture of 2018.

The last year has been a time of great change for Atlanta, from a bird’s-eye view, and on the ground level. Throughout all of the meet-ups for coffees and beers, phone calls, conversations, and interviews leading up to this year’s issue, I noticed one profound thread that tied everyone’s stories together in both subtle and clearly defined ways: Each and every feature story, interview, review, and listicle tells the story of an artist experiencing a turning point in their lives and in their careers. From former music teacher Jeff Crompton embracing his own music after Fulton County cut funding for his school programs, to Yung Baby Tate mastering engineering skills and her own sexual portrayal, they’re holding a mirror to the bigger picture, as the dust of gentrification settles. As a result, this year’s CL music issue captures a real-time portrait of musicians on the cusp of change.

Old-school Atlantans, in a sense, have lost their once sleepy Southern city to an influx of outsiders, who have reoriented the way our neighborhoods work, reprogrammed the local economy, and bolstered nightlife. The old institutions still stand, but there are a whole lot of new faces in the crowd, and they demand that the city kick everything up a notch.

It is only natural for a city to experience these kinds of growth spurts, and it has been nothing short of impressive to bear witness as the music scene has grown with it. As the Masquerade settles into its digs in Kenny’s Alley and fundamentally reshapes the lay of the land, other venues have followed suit. From the Bakery in Adair Park to East Atlanta’s 529 and Philips Arena Downtown, venues are undergoing facelifts to keep the business of music looking sharp and sounding even better.

While fact-checking and researching this issue, I came across a quote by Eric Burdon of the Animals, who said, “People we've encountered at pivotal moments who profoundly influence our direction are not necessarily the people whose names everybody knows. More often, they are the people who say or do just the right thing, at the right time.”

I like to think of this year’s music issue as a survey of people who are doing the right thing at the right time. Misanthropic Aggression’s reluctance to embrace social media attention while stalking the frontlines of black metal and crust punk is a reminder of how important it is to foster stronger, friendlier relationships in the real world. And while artists like AGYN and MonteQarlo put a sharper edge to their respective takes on pop and dance music, the Fox Theatre has refined its already palatial confines, offering even more lavish amenities for its patrons.

Our laundry list of Atlanta summer jams is chock-full of essential listens by some artists you already love, and even more that you don’t know — not yet anyway.

As the city prepares for one more trip around the sun, I also like to think of this issue as a primer for what the coming year holds in store for Atlanta music, and how this pivotal moment in history will unfold.

And finally: We’re taking nominations for the annual Best of Atlanta issue now. The issue will take on a new form and look this year, and we’re excited to roll it out. Polls are open now, and remain open until July 23. Make your voice known and tell us who you think is Atlanta’s best of the best in 2018. — Chad Radford, CL’s Music Editor

Check out CL's 2018 Music Issue.



More By This Writer

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  string(6551) "The financial hardships wrought by the COVID-19 pandemic reach far and wide. Among the hardest-hit institutions across the country have been independent music venues.

Since Georgians began sheltering in place the second week of March, business for the city’s live music destinations has ground to a halt, and, aside from setting up GoFundMe accounts, revenue streams have remained shut off. A new coalition of venues and promoters, however, dubbed the National Independent Venue Association (NIVA) has formed to lobby for, and to create a lifeline to support these indie music institutions, their staffs, artists, and their communities.

“Music venues were the first to close and will be the last to open,” said Dayna Frank, NIVA board member and owner of First Avenue in Minneapolis, in an April 20 press release. “It’s just brutal right now, and the future is predictable to no one. We can’t envision a world without these music venues, so we’ve created NIVA to fight for their ability to survive this shutdown, which we hear could go into 2021,” Frank goes on to say. “Our first order of business is to push to secure federal funding to preserve the ecosystem of live music venues and touring artists.”

One of the organization’s first acts was to petition Capitol Hill House Speaker Nancy Pelosi, House Majority Leader Kevin McCarthy, and Senate Minority Leader Chuck Schumer, on April 22, with an open letter asking for assistance in ensuring the Small Business Paycheck Protection Program services the venues who need it most. The letter also asked for tax relief, including deferral of federal taxes for closed businesses, a forgiveness program, and for extensions on PPA loans until it’s safe for the concert industry to resume business. Continued federal support for unemployment insurance for employees of shuttered businesses, mortgage and rent forbearance, and the establishment of a grant-funded business recovery fund were also among the NIVA letter’s requests.

As of press time, more than 900 music venues in all 50 states have joined NIVA, including the 40 Watt in Athens, along with Atlanta promoters OK Productions and Rival Entertainment, as well as venues such as the Center Stage-Vinyl-The Loft complex, Smith’s Olde Bar, and The Masquerade.

“We joined NIVA because we believe there is strength in numbers,” says The Masquerade’s talent buyer Greg Green. “Instead of being just one of 800 small voices trying to be heard, we believe that the unified voice of all of these wonderful independent live music venues and promoters will carry a lot more weight regarding the issues facing our industry during this incredibly difficult time. Also, we think having the resource of all of the other members’ experience and knowledge available to us will be invaluable as we try to navigate ahead in the coming months and get back to presenting great concerts.”

There is no cost for venues to acquire NIVA membership.

In new-releases news, Duet for Theremin and Lap Steel is back with a new full-length album, titled Halocline. The music will be available to listen to via Bandcamp on May 16. In the meantime, check out the first single — the first time DfTaLS has even released a single — titled “Maelstrom.” It’s a six-and-a-half-minute improv set that projects something of an aquatic theme. The term “halocline” is what happens when two bodies of water are separated due to their different salinities. This first single is a full-bodied drift that finds theremin player Scott Burland and lap steel player Frank Schultz joined by Louisville, Kentucky-based vocalist Dane Waters.

Stream the song for free, or pay $1. There is also a preorder for the 16-track album up on Bandcamp as well. Every penny from their Bandcamp sales will be donated evenly to two charities: Giving Kitchen and the Atlanta Musicians’ Emergency Relief Fund.

There’s talk of a CD and possibly a vinyl release of Halocline coming out via Stickfigure Records in the near future, once the pandemic has receded and the world starts moving again. Until then, it’s a Bandcamp exclusive.

Schultz has also recently unveiled a new collaboration with composer, percussionist, and mad genius Klimchak, titled Six Feet Apart. For this project, Schultz rounded up a handful of improv pieces on the lap steel, and sent them off to a few folks to see if anyone was interested in expanding upon them. Klimchak was in, and composed his own sections to go along with Schultz’s improvisational pieces. The result is three pieces — “Off the Clock,” “Adrift and Lost,” and “Limping into Destiny” — 20 minutes of textured ambient droning bliss.

Six Feet Apart is available on Bandcamp now. Any and all proceeds will be donated to Giving Kitchen and the Atlanta Musicians’ Emergency Relief Fund.

In April, blackened death metal-punk trio Misanthropic Aggression rolled out a new 7-inch EP, titled Alcoholic Polyneuropathic Freaks in Hell. The three-song single is available now via Boris Records. National distribution via MVD begins in June.

Death rock and goth-punk trio Tears for the Dying recently unveiled the group’s second full-length, titled Memories. The album was engineered and produced by Tom Ashton of the March Violets, and recorded at Subvon Studio in Athens. This time around, singer, guitarist, and bass player Adria Schlenker, Debra Beat, and Candy Cancer shed the keyboard for most of the album’s tracks in favor of a raw, guitar-driven assault — all three members share guitar and bass duties here. Check out that smoldering cover of Christian Death’s “Spiritual Cramp”!

Bad Moods’ latest 7-inch, featuring a new version of “Super Collider” b/w “La France” and “Radiology” 7-inch has been making the rounds recently as well. Singer, guitar player, and songwriter Tim Haught and drummer Champ Hammett are formerly of Atlanta hardcore staples Foundation — Champ also played in Criminal Instinct. With Bad Moods they veer away from hardcore, taking a more straight-ahead approach to indie rock songwriting, with an emphasis on recording rather than playing live regularly. “The goal, in the beginning, was to sound kind of like the Lemonheads, or something like that,” Haught says. “In the end it comes across more like a power pop version of Leatherface.”

Keep an ear out for more Bad Moods recordings coming down the line soon. —­CL—

Send local music news items to chad.radford at creativeloafing.com."
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Since Georgians began sheltering in place the second week of March, business for the city’s live music destinations has ground to a halt, and, aside from setting up GoFundMe accounts, revenue streams have remained shut off. A new coalition of venues and promoters, however, dubbed the National Independent Venue Association (NIVA) has formed to lobby for, and to create a lifeline to support these indie music institutions, their staffs, artists, and their communities.

“Music venues were the first to close and will be the last to open,” said Dayna Frank, NIVA board member and owner of First Avenue in Minneapolis, in an April 20 press release. “It’s just brutal right now, and the future is predictable to no one. We can’t envision a world without these music venues, so we’ve created NIVA to fight for their ability to survive this shutdown, which we hear could go into 2021,” Frank goes on to say. “Our first order of business is to push to secure federal funding to preserve the ecosystem of live music venues and touring artists.”

One of the organization’s first acts was to petition Capitol Hill House Speaker Nancy Pelosi, House Majority Leader Kevin McCarthy, and Senate Minority Leader Chuck Schumer, on April 22, with an open letter asking for assistance in ensuring the Small Business Paycheck Protection Program services the venues who need it most. The letter also asked for tax relief, including deferral of federal taxes for closed businesses, a forgiveness program, and for extensions on PPA loans until it’s safe for the concert industry to resume business. Continued federal support for unemployment insurance for employees of shuttered businesses, mortgage and rent forbearance, and the establishment of a grant-funded business recovery fund were also among the NIVA letter’s requests.

As of press time, more than 900 music venues in all 50 states have joined NIVA, including the 40 Watt in Athens, along with Atlanta promoters OK Productions and Rival Entertainment, as well as venues such as the Center Stage-Vinyl-The Loft complex, Smith’s Olde Bar, and The Masquerade.

“We joined NIVA because we believe there is strength in numbers,” says The Masquerade’s talent buyer Greg Green. “Instead of being just one of 800 small voices trying to be heard, we believe that the unified voice of all of these wonderful independent live music venues and promoters will carry a lot more weight regarding the issues facing our industry during this incredibly difficult time. Also, we think having the resource of all of the other members’ experience and knowledge available to us will be invaluable as we try to navigate ahead in the coming months and get back to presenting great concerts.”

There is no cost for venues to acquire NIVA membership.

In new-releases news, Duet for Theremin and Lap Steel is back with a new full-length album, titled ''Halocline''. The music will be available to listen to via Bandcamp on May 16. In the meantime, check out the first single — the first time DfTaLS has even released a single — titled “Maelstrom.” It’s a six-and-a-half-minute improv set that projects something of an aquatic theme. The term “halocline” is what happens when two bodies of water are separated due to their different salinities. This first single is a full-bodied drift that finds theremin player Scott Burland and lap steel player Frank Schultz joined by Louisville, Kentucky-based vocalist Dane Waters.

Stream the song for free, or pay $1. There is also a preorder for the 16-track album up on Bandcamp as well. Every penny from their Bandcamp sales will be donated evenly to two charities: Giving Kitchen and the Atlanta Musicians’ Emergency Relief Fund.

There’s talk of a CD and possibly a vinyl release of ''Halocline'' coming out via Stickfigure Records in the near future, once the pandemic has receded and the world starts moving again. Until then, it’s a Bandcamp exclusive.

Schultz has also recently unveiled a new collaboration with composer, percussionist, and mad genius Klimchak, titled ''Six Feet Apart''. For this project, Schultz rounded up a handful of improv pieces on the lap steel, and sent them off to a few folks to see if anyone was interested in expanding upon them. Klimchak was in, and composed his own sections to go along with Schultz’s improvisational pieces. The result is three pieces — “Off the Clock,” “Adrift and Lost,” and “Limping into Destiny” — 20 minutes of textured ambient droning bliss.

''Six Feet Apart'' is available on Bandcamp now. Any and all proceeds will be donated to Giving Kitchen and the Atlanta Musicians’ Emergency Relief Fund.

In April, blackened death metal-punk trio Misanthropic Aggression rolled out a new 7-inch EP, titled ''Alcoholic Polyneuropathic Freaks in Hell''. The three-song single is available now via Boris Records. National distribution via MVD begins in June.

Death rock and goth-punk trio Tears for the Dying recently unveiled the group’s second full-length, titled ''Memories''. The album was engineered and produced by Tom Ashton of the March Violets, and recorded at Subvon Studio in Athens. This time around, singer, guitarist, and bass player Adria Schlenker, Debra Beat, and Candy Cancer shed the keyboard for most of the album’s tracks in favor of a raw, guitar-driven assault — all three members share guitar and bass duties here. Check out that smoldering cover of Christian Death’s “Spiritual Cramp”!

Bad Moods’ latest 7-inch, featuring a new version of “Super Collider” b/w “La France” and “Radiology” 7-inch has been making the rounds recently as well. Singer, guitar player, and songwriter Tim Haught and drummer Champ Hammett are formerly of Atlanta hardcore staples Foundation — Champ also played in Criminal Instinct. With Bad Moods they veer away from hardcore, taking a more straight-ahead approach to indie rock songwriting, with an emphasis on recording rather than playing live regularly. “The goal, in the beginning, was to sound kind of like the Lemonheads, or something like that,” Haught says. “In the end it comes across more like a power pop version of Leatherface.”

Keep an ear out for more Bad Moods recordings coming down the line soon. __—­CL—__

''Send local music news items to chad.radford@creativeloafing.com.''"
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  string(7210) " Masquerade Credit Elena De Soto 1 2 Web  2020-05-11T20:22:29+00:00 Masquerade_Credit_Elena_de_Soto-1_2_web.jpg    amn New music from DfTaLS, Misanthropic Aggression, Tears For the Dying, and Bad Moods 31020  2020-05-01T04:13:00+00:00 ATLANTA MUSIC NEWS: NIVA fights to keep music venues alive jim.harris@creativeloafing.com Jim Harris Chad Radford Chad Radford 2020-05-01T04:13:00+00:00  The financial hardships wrought by the COVID-19 pandemic reach far and wide. Among the hardest-hit institutions across the country have been independent music venues.

Since Georgians began sheltering in place the second week of March, business for the city’s live music destinations has ground to a halt, and, aside from setting up GoFundMe accounts, revenue streams have remained shut off. A new coalition of venues and promoters, however, dubbed the National Independent Venue Association (NIVA) has formed to lobby for, and to create a lifeline to support these indie music institutions, their staffs, artists, and their communities.

“Music venues were the first to close and will be the last to open,” said Dayna Frank, NIVA board member and owner of First Avenue in Minneapolis, in an April 20 press release. “It’s just brutal right now, and the future is predictable to no one. We can’t envision a world without these music venues, so we’ve created NIVA to fight for their ability to survive this shutdown, which we hear could go into 2021,” Frank goes on to say. “Our first order of business is to push to secure federal funding to preserve the ecosystem of live music venues and touring artists.”

One of the organization’s first acts was to petition Capitol Hill House Speaker Nancy Pelosi, House Majority Leader Kevin McCarthy, and Senate Minority Leader Chuck Schumer, on April 22, with an open letter asking for assistance in ensuring the Small Business Paycheck Protection Program services the venues who need it most. The letter also asked for tax relief, including deferral of federal taxes for closed businesses, a forgiveness program, and for extensions on PPA loans until it’s safe for the concert industry to resume business. Continued federal support for unemployment insurance for employees of shuttered businesses, mortgage and rent forbearance, and the establishment of a grant-funded business recovery fund were also among the NIVA letter’s requests.

As of press time, more than 900 music venues in all 50 states have joined NIVA, including the 40 Watt in Athens, along with Atlanta promoters OK Productions and Rival Entertainment, as well as venues such as the Center Stage-Vinyl-The Loft complex, Smith’s Olde Bar, and The Masquerade.

“We joined NIVA because we believe there is strength in numbers,” says The Masquerade’s talent buyer Greg Green. “Instead of being just one of 800 small voices trying to be heard, we believe that the unified voice of all of these wonderful independent live music venues and promoters will carry a lot more weight regarding the issues facing our industry during this incredibly difficult time. Also, we think having the resource of all of the other members’ experience and knowledge available to us will be invaluable as we try to navigate ahead in the coming months and get back to presenting great concerts.”

There is no cost for venues to acquire NIVA membership.

In new-releases news, Duet for Theremin and Lap Steel is back with a new full-length album, titled Halocline. The music will be available to listen to via Bandcamp on May 16. In the meantime, check out the first single — the first time DfTaLS has even released a single — titled “Maelstrom.” It’s a six-and-a-half-minute improv set that projects something of an aquatic theme. The term “halocline” is what happens when two bodies of water are separated due to their different salinities. This first single is a full-bodied drift that finds theremin player Scott Burland and lap steel player Frank Schultz joined by Louisville, Kentucky-based vocalist Dane Waters.

Stream the song for free, or pay $1. There is also a preorder for the 16-track album up on Bandcamp as well. Every penny from their Bandcamp sales will be donated evenly to two charities: Giving Kitchen and the Atlanta Musicians’ Emergency Relief Fund.

There’s talk of a CD and possibly a vinyl release of Halocline coming out via Stickfigure Records in the near future, once the pandemic has receded and the world starts moving again. Until then, it’s a Bandcamp exclusive.

Schultz has also recently unveiled a new collaboration with composer, percussionist, and mad genius Klimchak, titled Six Feet Apart. For this project, Schultz rounded up a handful of improv pieces on the lap steel, and sent them off to a few folks to see if anyone was interested in expanding upon them. Klimchak was in, and composed his own sections to go along with Schultz’s improvisational pieces. The result is three pieces — “Off the Clock,” “Adrift and Lost,” and “Limping into Destiny” — 20 minutes of textured ambient droning bliss.

Six Feet Apart is available on Bandcamp now. Any and all proceeds will be donated to Giving Kitchen and the Atlanta Musicians’ Emergency Relief Fund.

In April, blackened death metal-punk trio Misanthropic Aggression rolled out a new 7-inch EP, titled Alcoholic Polyneuropathic Freaks in Hell. The three-song single is available now via Boris Records. National distribution via MVD begins in June.

Death rock and goth-punk trio Tears for the Dying recently unveiled the group’s second full-length, titled Memories. The album was engineered and produced by Tom Ashton of the March Violets, and recorded at Subvon Studio in Athens. This time around, singer, guitarist, and bass player Adria Schlenker, Debra Beat, and Candy Cancer shed the keyboard for most of the album’s tracks in favor of a raw, guitar-driven assault — all three members share guitar and bass duties here. Check out that smoldering cover of Christian Death’s “Spiritual Cramp”!

Bad Moods’ latest 7-inch, featuring a new version of “Super Collider” b/w “La France” and “Radiology” 7-inch has been making the rounds recently as well. Singer, guitar player, and songwriter Tim Haught and drummer Champ Hammett are formerly of Atlanta hardcore staples Foundation — Champ also played in Criminal Instinct. With Bad Moods they veer away from hardcore, taking a more straight-ahead approach to indie rock songwriting, with an emphasis on recording rather than playing live regularly. “The goal, in the beginning, was to sound kind of like the Lemonheads, or something like that,” Haught says. “In the end it comes across more like a power pop version of Leatherface.”

Keep an ear out for more Bad Moods recordings coming down the line soon. —­CL—

Send local music news items to chad.radford at creativeloafing.com.    Elena DeSoto SOUND OF MUSIC: The Masquerade and more Atlanta music destinations and promoters join the National Independent Venue Association to lobby for support.  0,0,10    AMN                             ATLANTA MUSIC NEWS: NIVA fights to keep music venues alive "
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Friday May 1, 2020 12:13 am EDT
New music from DfTaLS, Misanthropic Aggression, Tears For the Dying, and Bad Moods | more...
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  string(36) "ATLANTA MUSIC NEWS: The Brains redux"
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  string(101) "Plus: The Star Bar will live again, new music from Nikki & the Phantom Callers, Picture One, and more"
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  string(101) "Plus: The Star Bar will live again, new music from Nikki & the Phantom Callers, Picture One, and more"
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  string(8086) "For the Atlanta music scene, and everyone else around the planet, life is on pause, as the COVID-19 pandemic continues to unfold. Every music venue in town has suffered cancelations and closures en masse. The timing could not have been more inconvenient for The Star Community Bar, which closed its doors on January 1, 2020. Since then, the lauded Little 5 Points music venue and dive bar at 437 Moreland Avenue has remained in a holding pattern.

According to a March 13 feature story published by the Atlanta Business Chronicle in January, new owners Luke Lewis, Bruce McLeod, former Trackside Tavern and The Comet Pub & Lanes bartender Dan Meade, and longtime bartender at The Highlander, Christopher Jackson, have taken over business operations and signed a new lease with plans to get The Star Bar back up and running as soon as possible, with most of the previous staff back in place.

The plan has been to not change a thing for the storied music hangout, which has been a pillar of the local scene since 1991. Aside from giving the place a thorough cleaning and a new coat of paint, the stage, the photo booth, and the Elvis Vault will live on. Plans to reopen the Little Vinyl Lounge downstairs are still coming together. Aside from that, the mantra has been to reopen “sometime soon,” but as of press time, social distancing and self-quarantining are keeping everyone locked away at home. The Star Bar’s doors remain shuttered for the time being.

“A proper opening date has changed several times because of licensing issues with the city,” says the Star Bar’s music promoter Bryan Malone. “Everything appeared to be in the clear, and then this global pandemic began to take root. I was hoping to announce then that we’d be opening this coming weekend, but held off in light of news reports which seemed too ominous to ignore. If you had told me on January 2  that we’d still be waiting midway through March I would have thought it quite unlikely,” he adds. “But this virus threatens to delay not only that, but everything else — life in general. Indefinitely.”

Stay tuned for more updates as they become available.

In recent years, Tom Gray has been rocking stages around the world, singing and playing slide guitar with progressive blues outfit Delta Moon. After being sidelined in 2019 to deal with a stage four lung cancer diagnosis, Gray has a little more time on his hands than usual. Since February, he’s been involved in launching a campaign to reissue material that he recorded in the late ’70s and early ’80s with his new wave band the Brains. He’s even talking about offering up some unreleased material as well.

In March, Gray and the Swimming Pool Q’s singer and guitarist Jeff Calder went to Preserve South in Buford, Georgia, to bake the original master tapes for all of the Brains’ recordings to which Gray owns the rights. This includes the group’s 1978 debut 7-inch, featuring the song “Money Changes Everything,” later made famous by pop star Cyndi Lauper with her version as the opening number of her 1983 LP, She’s So Unusual. Gray and Calder are also working on the master tapes containing the Brains’ 1982 EP, Dancing Under Streetlights (Landslide Records), as well as some unreleased material. The group’s 1980 self-titled full-length and 1981’s Electronic Eden LPs were originally released by the now defunct Mercury Records. Those masters are currently owned by the Universal Music Group, but Gray and Calder hope to gain access to them soon. 

“Back in the CD era, several reissue labels were interested in the Brains albums, but Mercury was a stone wall,” says Gray. “Today we will be dealing with Universal. The plan, based on the advice of an LA attorney who knows today’s business, is to create enough online interest to show Universal that this would be worth their trouble.”

This reissue campaign will mark the first time these recordings by the Brains have been made available in any format other than the original, long out-of-print vinyl pressings. Stay tuned for more information, including release dates, as it becomes available over the coming weeks.

In new releases news, Picture One, the solo recording project of multi-instrumentalist and co-owner of the Deanwell Global Music label Thomas Barnwell unveiled his third full-length LP, titled Across the Depths of Seven Lakes. Over the last decade, Barnwell has played guitar on releases by local acts including the Orphins and Thy Mighty Contract, and in 2016, co-composed the score for director Adam Pinney’s film, The Arbalest. Barnwell has also reissued material by seminal proto-goth and darkwave acts including French post-punk group Asylum Party and Atlanta’s early ’80s synth-punk outfit the Modern Mannequins.

Picture One finds Barnwell delving into a more personal side of his mostly-instrumental songwriting. Across the Depths of Seven Lakes (out April 3), however, is the first Picture One release on which Barnwell shows off his voice and lyrics.

“I started singing on this record because I wanted to process a lot of what I have been going through over the last couple of years,” he says. “Trying to be more creative than I have been — I haven’t done lyrics in maybe 10 years. I just wanted that connection again. When you play stuff live, people really connect with vocals a lot,” he adds. “ And I wanted to make something that I would personally want to listen to multiple times.”

In other new releases news, 4-IZE recently dropped a new album, titled Look Into My IZE, which he describes as “the most hip-hop album of 2020.” The album features collaborations with a bevy of heavy-hitters including the late Sean Price, Rapper Big Pooh, Talib Kweli, Señor Kaos, J-Live, Shawnna, and the almighty Ludacris, the latter of whom tears it up on the song “Shit On Deez Niggaz.” Guest producers on the album include Floyd the Locsmif, Swizz Beatz, Illastrate, 9th Wonder, J.U.S.T.I.C.E. League, D.R.U.G.S. Beats, and Planet Asia.

“Music has always been an informal method of therapy, being noted as an excellent power to expel diseases, as well as a sovereign remedy against despair and melancholy,” 4IZE says in a press release. “For the listener as well as the artist.”

Under the direction of Sarajevo-born guitarist Eddie Beho, Sataraš Quartet has spent the last few years fleshing out a singular repertoire of Southern European jazz and folk music inflections, American blues, and improvisation. In April, the group unveiled its debut album, Errors and Omissions. The album’s arrival was also accompanied by a new two-song EP by the group’s rhythm section of Colin Bragg and Blake Helton, titled Mask Mania.

April 3 also marks the arrival of Nikki & the Phantom Callers’ debut album, titled Everybody’s Going to Hell (But You and Me). The album’s first proper single, “Fallen Angel,” is accompanied by a video directed by Video Rahim and Ashley Simpson, and premiered in March via Wide Open Country. The album finds the countrypolitan rockers reveling in a creative, upbeat blend of modern indie and timeless Southern rock influences in songs with titles such as “Howl With Me,” “Mamas Should Know,” and “They’ve Never Walked Through Shadows.”

“Your first album is always kind of like your first set list,” says singer and guitarist Nikki Speake. “You gather up what you have and see how it all fits together. Some of the songs were written 20 years ago, most were written and recorded within the last year. When I write songs, it’s sort of like a therapy session,” Speake adds. “I’m trying to get through what’s on my mind, and everyone in the group seems to be on the same musical wavelength. We don’t have to think about it much, and we’re just trying to have fun with it.”

For the time being, release shows are being postponed through April and May. Stay tuned for more announcements coming soon.

Send Atlanta music news tips to chad.radford at creativeloafing.com."
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According to a March 13 feature story published by the ''Atlanta Business Chronicle'' in January, new owners __Luke Lewis__, __Bruce McLeod__, former Trackside Tavern and The Comet Pub & Lanes bartender __Dan Meade__, and longtime bartender at __The Highlander, Christopher Jackson__, have taken over business operations and signed a new lease with plans to get The Star Bar back up and running as soon as possible, with most of the previous staff back in place.

The plan has been to not change a thing for the storied music hangout, which has been a pillar of the local scene since 1991. Aside from giving the place a thorough cleaning and a new coat of paint, the stage, the photo booth, and the Elvis Vault will live on. Plans to reopen the Little Vinyl Lounge downstairs are still coming together. Aside from that, the mantra has been to reopen “sometime soon,” but as of press time, social distancing and self-quarantining are keeping everyone locked away at home. The Star Bar’s doors remain shuttered for the time being.

“A proper opening date has changed several times because of licensing issues with the city,” says the Star Bar’s music promoter Bryan Malone. “Everything appeared to be in the clear, and then this global pandemic began to take root. I was hoping to announce then that we’d be opening this coming weekend, but held off in light of news reports which seemed too ominous to ignore. If you had told me on January 2  that we’d still be waiting midway through March I would have thought it quite unlikely,” he adds. “But this virus threatens to delay not only that, but everything else — life in general. Indefinitely.”

Stay tuned for more updates as they become available.

In recent years, Tom Gray has been rocking stages around the world, singing and playing slide guitar with progressive blues outfit Delta Moon. After being sidelined in 2019 to deal with a stage four lung cancer diagnosis, Gray has a little more time on his hands than usual. Since February, he’s been involved in launching a campaign to reissue material that he recorded in the late ’70s and early ’80s with his new wave band __the Brains__. He’s even talking about offering up some unreleased material as well.

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“Back in the CD era, several reissue labels were interested in the Brains albums, but Mercury was a stone wall,” says Gray. “Today we will be dealing with Universal. The plan, based on the advice of an LA attorney who knows today’s business, is to create enough online interest to show Universal that this would be worth their trouble.”

This reissue campaign will mark the first time these recordings by the Brains have been made available in any format other than the original, long out-of-print vinyl pressings. Stay tuned for more information, including release dates, as it becomes available over the coming weeks.

In new releases news, __Picture One__, the solo recording project of multi-instrumentalist and co-owner of the Deanwell Global Music label Thomas Barnwell unveiled his third full-length LP, titled ''Across the Depths of Seven Lakes''. Over the last decade, Barnwell has played guitar on releases by local acts including the Orphins and Thy Mighty Contract, and in 2016, co-composed the score for director Adam Pinney’s film, ''The Arbalest''. Barnwell has also reissued material by seminal proto-goth and darkwave acts including French post-punk group Asylum Party and Atlanta’s early ’80s synth-punk outfit the Modern Mannequins.

Picture One finds Barnwell delving into a more personal side of his mostly-instrumental songwriting. ''Across the Depths of Seven Lakes'' (out April 3), however, is the first Picture One release on which Barnwell shows off his voice and lyrics.

“I started singing on this record because I wanted to process a lot of what I have been going through over the last couple of years,” he says. “Trying to be more creative than I have been — I haven’t done lyrics in maybe 10 years. I just wanted that connection again. When you play stuff live, people really connect with vocals a lot,” he adds. “ And I wanted to make something that I would personally want to listen to multiple times.”

In other new releases news, __4-IZE__ recently dropped a new album, titled ''Look Into My IZE'', which he describes as “the most hip-hop album of 2020.” The album features collaborations with a bevy of heavy-hitters including the late __Sean Price__, __Rapper Big Pooh__, __Talib Kweli__, __Señor Kaos__, __J-Live__, __Shawnna__, and the almighty __Ludacris__, the latter of whom tears it up on the song “Shit On Deez Niggaz.” Guest producers on the album include __Floyd the Locsmif__, __Swizz Beatz__, __Illastrate__, __9th Wonder__, __J.U.S.T.I.C.E. League__, __D.R.U.G.S. Beats__, and __Planet Asia__.

“Music has always been an informal method of therapy, being noted as an excellent power to expel diseases, as well as a sovereign remedy against despair and melancholy,” 4IZE says in a press release. “For the listener as well as the artist.”

Under the direction of Sarajevo-born guitarist Eddie Beho, __Sataraš Quartet__ has spent the last few years fleshing out a singular repertoire of Southern European jazz and folk music inflections, American blues, and improvisation. In April, the group unveiled its debut album, ''Errors and Omissions''. The album’s arrival was also accompanied by a new two-song EP by the group’s rhythm section of Colin Bragg and Blake Helton, titled ''Mask Mania''.

April 3 also marks the arrival of __Nikki & the Phantom Callers__’ debut album, titled ''Everybody’s Going to Hell (But You and Me)''. The album’s first proper single, “Fallen Angel,” is accompanied by a video directed by Video Rahim and Ashley Simpson, and premiered in March via ''Wide Open Country''. The album finds the countrypolitan rockers reveling in a creative, upbeat blend of modern indie and timeless Southern rock influences in songs with titles such as “Howl With Me,” “Mamas Should Know,” and “They’ve Never Walked Through Shadows.”

“Your first album is always kind of like your first set list,” says singer and guitarist Nikki Speake. “You gather up what you have and see how it all fits together. Some of the songs were written 20 years ago, most were written and recorded within the last year. When I write songs, it’s sort of like a therapy session,” Speake adds. “I’m trying to get through what’s on my mind, and everyone in the group seems to be on the same musical wavelength. We don’t have to think about it much, and we’re just trying to have fun with it.”

For the time being, release shows are being postponed through April and May. Stay tuned for more announcements coming soon.

''Send Atlanta music news tips to chad.radford@creativeloafing.com.''"
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  string(8999) " Nikki & The Phantom Callers Photo By Jaysen Michael  2020-04-06T15:19:05+00:00 Nikki_&_the_Phantom_Callers_Photo_by_Jaysen_Michael.jpg    atlmn Plus: The Star Bar will live again, new music from Nikki & the Phantom Callers, Picture One, and more 30455  2020-04-06T15:17:04+00:00 ATLANTA MUSIC NEWS: The Brains redux jim.harris@creativeloafing.com Jim Harris Chad Radford  2020-04-06T15:17:04+00:00  For the Atlanta music scene, and everyone else around the planet, life is on pause, as the COVID-19 pandemic continues to unfold. Every music venue in town has suffered cancelations and closures en masse. The timing could not have been more inconvenient for The Star Community Bar, which closed its doors on January 1, 2020. Since then, the lauded Little 5 Points music venue and dive bar at 437 Moreland Avenue has remained in a holding pattern.

According to a March 13 feature story published by the Atlanta Business Chronicle in January, new owners Luke Lewis, Bruce McLeod, former Trackside Tavern and The Comet Pub & Lanes bartender Dan Meade, and longtime bartender at The Highlander, Christopher Jackson, have taken over business operations and signed a new lease with plans to get The Star Bar back up and running as soon as possible, with most of the previous staff back in place.

The plan has been to not change a thing for the storied music hangout, which has been a pillar of the local scene since 1991. Aside from giving the place a thorough cleaning and a new coat of paint, the stage, the photo booth, and the Elvis Vault will live on. Plans to reopen the Little Vinyl Lounge downstairs are still coming together. Aside from that, the mantra has been to reopen “sometime soon,” but as of press time, social distancing and self-quarantining are keeping everyone locked away at home. The Star Bar’s doors remain shuttered for the time being.

“A proper opening date has changed several times because of licensing issues with the city,” says the Star Bar’s music promoter Bryan Malone. “Everything appeared to be in the clear, and then this global pandemic began to take root. I was hoping to announce then that we’d be opening this coming weekend, but held off in light of news reports which seemed too ominous to ignore. If you had told me on January 2  that we’d still be waiting midway through March I would have thought it quite unlikely,” he adds. “But this virus threatens to delay not only that, but everything else — life in general. Indefinitely.”

Stay tuned for more updates as they become available.

In recent years, Tom Gray has been rocking stages around the world, singing and playing slide guitar with progressive blues outfit Delta Moon. After being sidelined in 2019 to deal with a stage four lung cancer diagnosis, Gray has a little more time on his hands than usual. Since February, he’s been involved in launching a campaign to reissue material that he recorded in the late ’70s and early ’80s with his new wave band the Brains. He’s even talking about offering up some unreleased material as well.

In March, Gray and the Swimming Pool Q’s singer and guitarist Jeff Calder went to Preserve South in Buford, Georgia, to bake the original master tapes for all of the Brains’ recordings to which Gray owns the rights. This includes the group’s 1978 debut 7-inch, featuring the song “Money Changes Everything,” later made famous by pop star Cyndi Lauper with her version as the opening number of her 1983 LP, She’s So Unusual. Gray and Calder are also working on the master tapes containing the Brains’ 1982 EP, Dancing Under Streetlights (Landslide Records), as well as some unreleased material. The group’s 1980 self-titled full-length and 1981’s Electronic Eden LPs were originally released by the now defunct Mercury Records. Those masters are currently owned by the Universal Music Group, but Gray and Calder hope to gain access to them soon. 

“Back in the CD era, several reissue labels were interested in the Brains albums, but Mercury was a stone wall,” says Gray. “Today we will be dealing with Universal. The plan, based on the advice of an LA attorney who knows today’s business, is to create enough online interest to show Universal that this would be worth their trouble.”

This reissue campaign will mark the first time these recordings by the Brains have been made available in any format other than the original, long out-of-print vinyl pressings. Stay tuned for more information, including release dates, as it becomes available over the coming weeks.

In new releases news, Picture One, the solo recording project of multi-instrumentalist and co-owner of the Deanwell Global Music label Thomas Barnwell unveiled his third full-length LP, titled Across the Depths of Seven Lakes. Over the last decade, Barnwell has played guitar on releases by local acts including the Orphins and Thy Mighty Contract, and in 2016, co-composed the score for director Adam Pinney’s film, The Arbalest. Barnwell has also reissued material by seminal proto-goth and darkwave acts including French post-punk group Asylum Party and Atlanta’s early ’80s synth-punk outfit the Modern Mannequins.

Picture One finds Barnwell delving into a more personal side of his mostly-instrumental songwriting. Across the Depths of Seven Lakes (out April 3), however, is the first Picture One release on which Barnwell shows off his voice and lyrics.

“I started singing on this record because I wanted to process a lot of what I have been going through over the last couple of years,” he says. “Trying to be more creative than I have been — I haven’t done lyrics in maybe 10 years. I just wanted that connection again. When you play stuff live, people really connect with vocals a lot,” he adds. “ And I wanted to make something that I would personally want to listen to multiple times.”

In other new releases news, 4-IZE recently dropped a new album, titled Look Into My IZE, which he describes as “the most hip-hop album of 2020.” The album features collaborations with a bevy of heavy-hitters including the late Sean Price, Rapper Big Pooh, Talib Kweli, Señor Kaos, J-Live, Shawnna, and the almighty Ludacris, the latter of whom tears it up on the song “Shit On Deez Niggaz.” Guest producers on the album include Floyd the Locsmif, Swizz Beatz, Illastrate, 9th Wonder, J.U.S.T.I.C.E. League, D.R.U.G.S. Beats, and Planet Asia.

“Music has always been an informal method of therapy, being noted as an excellent power to expel diseases, as well as a sovereign remedy against despair and melancholy,” 4IZE says in a press release. “For the listener as well as the artist.”

Under the direction of Sarajevo-born guitarist Eddie Beho, Sataraš Quartet has spent the last few years fleshing out a singular repertoire of Southern European jazz and folk music inflections, American blues, and improvisation. In April, the group unveiled its debut album, Errors and Omissions. The album’s arrival was also accompanied by a new two-song EP by the group’s rhythm section of Colin Bragg and Blake Helton, titled Mask Mania.

April 3 also marks the arrival of Nikki & the Phantom Callers’ debut album, titled Everybody’s Going to Hell (But You and Me). The album’s first proper single, “Fallen Angel,” is accompanied by a video directed by Video Rahim and Ashley Simpson, and premiered in March via Wide Open Country. The album finds the countrypolitan rockers reveling in a creative, upbeat blend of modern indie and timeless Southern rock influences in songs with titles such as “Howl With Me,” “Mamas Should Know,” and “They’ve Never Walked Through Shadows.”

“Your first album is always kind of like your first set list,” says singer and guitarist Nikki Speake. “You gather up what you have and see how it all fits together. Some of the songs were written 20 years ago, most were written and recorded within the last year. When I write songs, it’s sort of like a therapy session,” Speake adds. “I’m trying to get through what’s on my mind, and everyone in the group seems to be on the same musical wavelength. We don’t have to think about it much, and we’re just trying to have fun with it.”

For the time being, release shows are being postponed through April and May. Stay tuned for more announcements coming soon.

Send Atlanta music news tips to chad.radford at creativeloafing.com.    Jaysen Michael SOUTHERN CHARM: Nikki & the Phantom Callers’ debut album, ‘Everybody’s Going To Hell (But You and Me),’ is out now.  0,0,10 luke.lewis@creativeloafing.com (itemId:470530 trackerid:9), bruce.mcleod@creativeloafing.com (itemId:470531 trackerid:9), dan.meade@creativeloafing.com (itemId:470532 trackerid:9), christopher.jackson@creativeloafing.com (itemId:470533 trackerid:9), The Brains (itemId:470535 trackerid:8)   ATLMN                             ATLANTA MUSIC NEWS: The Brains redux "
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Monday April 6, 2020 11:17 am EDT
Plus: The Star Bar will live again, new music from Nikki & the Phantom Callers, Picture One, and more | more...
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Welcome to Creative Loafing’s weekend roundup podcast for March 13-15! Will Cardwell, Jacob Chisenhall, and Chad Radford discuss their top picks for the weekend, including ASO presents Return of the Jedi, Uniform & The Body, and more! Tune in and turn out.

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Welcome to Creative Loafing’s weekend roundup podcast for March 13-15! Will Cardwell, Jacob Chisenhall, and Chad Radford discuss their top picks for the weekend, including ASO presents Return of the Jedi, Uniform & The Body, and more! Tune in and turn out.

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But despite the celebrity factor, ingénue arrives as a strong opening salvo for Englenz.

Jon Latham, Mike Killeen, and Total Babe (Emily Backus, Meg Brooks) open the show with short sets as well.

“We really worked on how to craft these songs, and which songs to choose from about 50,” Englenz says. “The whole enchilada. Going down to FAME (Studios in Muscle Shoals) to record with Blind Boys of Alabama was another level of experience as well. I can’t really express how profound it was to have legends like that want to sing on words I wrote in a trying time and just take it to this even more profound historic level. Needless to say there have been a lot of tears in reflection.”

Early singles such as “Got Me With Goodbye” and “Rebound” show off a fleshed-out collection of instrumental arrangements surrounding a voice that sounds more charged and confident than ever.

It’s an impressive step up in production, performance, and overall presence, all of which are a far cry from the one-take cuts that were used for the first EP.

“I’d say the EP was like sketching out an idea, and this album feels like a finished painting,” Englenz says. “I have become more confident in my voice which is likely the biggest difference in life and recording. Voice in the sense of singing,” she adds, “but (also) voice in the sense of a level of confidence in who I am and having self-worth, that (tells me) maybe there is value in sharing that.”

The album hit record store shelves on February 28, and also features contributions from a crew of burgeoning, high-caliber Nashville players including Coomer on drums, Jason “Slim” Gambill and Joe Garcia on electric guitar, bass player Ted Pecchio, Robbie Crowell on keys, and Englenz holding down everything from guitar, piano, and French horn to glockenspiel. For the Eddie’s Attic show, Englenz is backed by a slightly different lineup that includes Jon Latham on electric guitar, Irakli Gabriel on electric guitar, Cory Nichols on bass, and Chris Benelli on drums.

In February, Lesibu Grand unveiled a new video for the song “Mi Sueño,” the closing number from 2019’s mini album, The Legend of Miranda. Based on the songwriting of bass player John Renaud and Tyler-Simone Molton, the group revels in a blend of Pixies-style indie rock, classic new wave, horn flourishes, and classic soul sounds. “Mi Sueño” is a bit of a departure from the group’s typically baroque rock style, but it’s a song no less steeped in heavy layers of quiet Southern surrealism that’s all about a dream within a dream, and the cultural, subliminal, and literal meanings of the word dreams. Directed by W. Addison Wood, the video blends drifting imagery of Molton, mirroring scenes from historic black films such as Commandment Keeper Church, Beaufort, South Carolina, May 1940, and Spencer Williams’ 1941 film The Blood of Jesus (1941), with Zora Neale Hurston’s untitled fieldwork footage from the late 1920s.

Lesibu Grand plays the Atlanta Room at Smith’s Olde Bar on Saturday, April 4, with Howling Star and Awleen.

Also in February, Slow Parade’s Matthew Pendrick released a sophomore LP, titled Hi​-​Fi LowLife. The album features a laundry list of players, including drummer and vibes player Paul Stevens, bass player Will Pass, Chandler Galloway on keys and vocals, Damon Moon playing bass, Luis Steffanel on flute, and Liz Brasher singing on the second song, “Spoonful.” Pendrick handled vocals, guitar, bass, drums, and keys. Moon produced.

Songs from the new album, such as “Waiting on the Smoke to Clear,” “Ebb & Flow,” and “Baggage Claim” find Pendrick and Co. moving away from the more cut-and-dried roots-based songwriting of the group’s 2015 album, Big Plans, to embrace a more creative and heavily stylized sound.

On March 20, Grammy winner and Tedeschi Trucks Band singer Mike Mattison will release his second solo album, titled Afterglow, via Landslide Records. The follow-up to 2014’s You Can’t Fight Love was co-produced by Mattison and drummer Tyler “Falcon” Greenwell, and features an eclectic array of blues, Americana, and rock ‘n’ roll numbers. The album also features contributions from guitarist Dave Yoke, bass player Franher Joseph, keyboard player Rachel Eckworth, guitar player Paul Olsen (Scrapomatic), and keyboards by the late Kofi Burbridge, who died in 2019 due to complications related to an ongoing cardiac condition.

And last, but not least, on Sunday, March 22, Soul Food Cypher returns for its regularly scheduled gathering from 6-9 p.m. at The Annex Bookstore (748 Marietta Street N.W.), this time with a celebration of women in hip-hop. Tiye hosts. More details will be announced here as they become available.

Please send local music news to chad.radford at creativeloafing.com."
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“I thought it was more visually pleasing, interesting, and balanced,” Englenz says. “However, I have found that most people are capitalizing it anyways, so I may have to get over that.”

The album is the follow-up to Englenz’s 2015 ''The Extent of Play ''EP, and was recorded by Ken Coomer of Wilco and Uncle Tupelo fame at Cartoon Moon Studios in Nashville. As the story goes, Englenz had been enlisted to sing back-up on Decatur-based songwriter Mike Killeen’s album ''Ghost'', which Coomer happened to be recording and producing. When Coomer heard Englenz’s parts, he approached her to produce ''ingénue''. Coomer also plays drums and percussion throughout the album, and one early single, “Pray for Rain,” features the golden voices of the Blind Boys of Alabama singing as well.

But despite the celebrity factor, ''ingénue ''arrives as a strong opening salvo for Englenz.

Jon Latham, Mike Killeen, and Total Babe (Emily Backus, Meg Brooks) open the show with short sets as well.

“We really worked on how to craft these songs, and which songs to choose from about 50,” Englenz says. “The whole enchilada. Going down to FAME (Studios in Muscle Shoals) to record with Blind Boys of Alabama was another level of experience as well. I can’t really express how profound it was to have legends like that want to sing on words I wrote in a trying time and just take it to this even more profound historic level. Needless to say there have been a lot of tears in reflection.”

Early singles such as “Got Me With Goodbye” and “Rebound” show off a fleshed-out collection of instrumental arrangements surrounding a voice that sounds more charged and confident than ever.

It’s an impressive step up in production, performance, and overall presence, all of which are a far cry from the one-take cuts that were used for the first EP.

“I’d say the EP was like sketching out an idea, and this album feels like a finished painting,” Englenz says. “I have become more confident in my voice which is likely the biggest difference in life and recording. Voice in the sense of singing,” she adds, “but (also) voice in the sense of a level of confidence in who I am and having self-worth, that (tells me) maybe there is value in sharing that.”

The album hit record store shelves on February 28, and also features contributions from a crew of burgeoning, high-caliber Nashville players including Coomer on drums, Jason “Slim” Gambill and Joe Garcia on electric guitar, bass player Ted Pecchio, Robbie Crowell on keys, and Englenz holding down everything from guitar, piano, and French horn to glockenspiel. For the Eddie’s Attic show, Englenz is backed by a slightly different lineup that includes Jon Latham on electric guitar, Irakli Gabriel on electric guitar, Cory Nichols on bass, and Chris Benelli on drums.

In February, __Lesibu Grand__ unveiled a new video for the song [https://www.youtube.com/watch?v=dIEEaa6Iw9o|“Mi Sueño,”] the closing number from 2019’s mini album, ''The Legend of Miranda''. Based on the songwriting of bass player John Renaud and Tyler-Simone Molton, the group revels in a blend of Pixies-style indie rock, classic new wave, horn flourishes, and classic soul sounds. “Mi Sueño” is a bit of a departure from the group’s typically baroque rock style, but it’s a song no less steeped in heavy layers of quiet Southern surrealism that’s all about a dream within a dream, and the cultural, subliminal, and literal meanings of the word dreams. Directed by W. Addison Wood, the video blends drifting imagery of Molton, mirroring scenes from historic black films such as ''Commandment Keeper Church, Beaufort, South Carolina, May 1940,'' and Spencer Williams’ 1941 film ''The Blood of Jesus'' (1941), with Zora Neale Hurston’s untitled fieldwork footage from the late 1920s.

Lesibu Grand plays the Atlanta Room at Smith’s Olde Bar on Saturday, __April 4__, with Howling Star and Awleen.

Also in February, __Slow Parade__’s Matthew Pendrick released a sophomore LP, titled ''Hi​-​Fi LowLife''. The album features a laundry list of players, including drummer and vibes player Paul Stevens, bass player Will Pass, Chandler Galloway on keys and vocals, Damon Moon playing bass, Luis Steffanel on flute, and Liz Brasher singing on the second song, “Spoonful.” Pendrick handled vocals, guitar, bass, drums, and keys. Moon produced.

Songs from the new album, such as “Waiting on the Smoke to Clear,” “Ebb & Flow,” and “Baggage Claim” find Pendrick and Co. moving away from the more cut-and-dried roots-based songwriting of the group’s 2015 album, Big Plans, to embrace a more creative and heavily stylized sound.

On __March 20__, Grammy winner and Tedeschi Trucks Band singer __Mike Mattison__ will release his second solo album, titled ''Afterglow'', via Landslide Records. The follow-up to 2014’s You Can’t Fight Love was co-produced by Mattison and drummer Tyler “Falcon” Greenwell, and features an eclectic array of blues, Americana, and rock ‘n’ roll numbers. The album also features contributions from guitarist Dave Yoke, bass player Franher Joseph, keyboard player Rachel Eckworth, guitar player Paul Olsen (Scrapomatic), and keyboards by the late Kofi Burbridge, who died in 2019 due to complications related to an ongoing cardiac condition.

And last, but not least, on Sunday, __March 22__, __Soul Food Cypher__ returns for its regularly scheduled gathering from 6-9 p.m. at The Annex Bookstore (748 Marietta Street N.W.), this time with a celebration of women in hip-hop. Tiye hosts. More details will be announced here as they become available.

''Please send local music news to chad.radford@creativeloafing.com.''"
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  string(6590) " K Englenz By Leona Tryon Web  2020-03-03T17:30:15+00:00 K_Englenz_by_Leona_Tryon_web.jpg     Soul Food Cypher celebrates women in hip-hop, plus new music from Lesibu Grand, Tedeschi Trucks Band’s Mike Mattison, and more 29685  2020-03-03T17:08:16+00:00 ATLANTA MUSIC NEWS: Kristen Englenz shines will.cardwell@gmail.com Will Cardwell Chad Radford  2020-03-03T17:08:16+00:00  Over the last three years, singer, and multi-instrumentalist Kristen Englenz has spent much of her time traveling back and forth between Nashville and Atlanta, although she still calls Atlanta home. On Friday, March 6, she returns to the Eddie’s Attic stage to play the release show for her proper debut album ingénue — and yes, that’s ingénue with a lowercase i.

“I thought it was more visually pleasing, interesting, and balanced,” Englenz says. “However, I have found that most people are capitalizing it anyways, so I may have to get over that.”

The album is the follow-up to Englenz’s 2015 The Extent of Play EP, and was recorded by Ken Coomer of Wilco and Uncle Tupelo fame at Cartoon Moon Studios in Nashville. As the story goes, Englenz had been enlisted to sing back-up on Decatur-based songwriter Mike Killeen’s album Ghost, which Coomer happened to be recording and producing. When Coomer heard Englenz’s parts, he approached her to produce ingénue. Coomer also plays drums and percussion throughout the album, and one early single, “Pray for Rain,” features the golden voices of the Blind Boys of Alabama singing as well.

But despite the celebrity factor, ingénue arrives as a strong opening salvo for Englenz.

Jon Latham, Mike Killeen, and Total Babe (Emily Backus, Meg Brooks) open the show with short sets as well.

“We really worked on how to craft these songs, and which songs to choose from about 50,” Englenz says. “The whole enchilada. Going down to FAME (Studios in Muscle Shoals) to record with Blind Boys of Alabama was another level of experience as well. I can’t really express how profound it was to have legends like that want to sing on words I wrote in a trying time and just take it to this even more profound historic level. Needless to say there have been a lot of tears in reflection.”

Early singles such as “Got Me With Goodbye” and “Rebound” show off a fleshed-out collection of instrumental arrangements surrounding a voice that sounds more charged and confident than ever.

It’s an impressive step up in production, performance, and overall presence, all of which are a far cry from the one-take cuts that were used for the first EP.

“I’d say the EP was like sketching out an idea, and this album feels like a finished painting,” Englenz says. “I have become more confident in my voice which is likely the biggest difference in life and recording. Voice in the sense of singing,” she adds, “but (also) voice in the sense of a level of confidence in who I am and having self-worth, that (tells me) maybe there is value in sharing that.”

The album hit record store shelves on February 28, and also features contributions from a crew of burgeoning, high-caliber Nashville players including Coomer on drums, Jason “Slim” Gambill and Joe Garcia on electric guitar, bass player Ted Pecchio, Robbie Crowell on keys, and Englenz holding down everything from guitar, piano, and French horn to glockenspiel. For the Eddie’s Attic show, Englenz is backed by a slightly different lineup that includes Jon Latham on electric guitar, Irakli Gabriel on electric guitar, Cory Nichols on bass, and Chris Benelli on drums.

In February, Lesibu Grand unveiled a new video for the song “Mi Sueño,” the closing number from 2019’s mini album, The Legend of Miranda. Based on the songwriting of bass player John Renaud and Tyler-Simone Molton, the group revels in a blend of Pixies-style indie rock, classic new wave, horn flourishes, and classic soul sounds. “Mi Sueño” is a bit of a departure from the group’s typically baroque rock style, but it’s a song no less steeped in heavy layers of quiet Southern surrealism that’s all about a dream within a dream, and the cultural, subliminal, and literal meanings of the word dreams. Directed by W. Addison Wood, the video blends drifting imagery of Molton, mirroring scenes from historic black films such as Commandment Keeper Church, Beaufort, South Carolina, May 1940, and Spencer Williams’ 1941 film The Blood of Jesus (1941), with Zora Neale Hurston’s untitled fieldwork footage from the late 1920s.

Lesibu Grand plays the Atlanta Room at Smith’s Olde Bar on Saturday, April 4, with Howling Star and Awleen.

Also in February, Slow Parade’s Matthew Pendrick released a sophomore LP, titled Hi​-​Fi LowLife. The album features a laundry list of players, including drummer and vibes player Paul Stevens, bass player Will Pass, Chandler Galloway on keys and vocals, Damon Moon playing bass, Luis Steffanel on flute, and Liz Brasher singing on the second song, “Spoonful.” Pendrick handled vocals, guitar, bass, drums, and keys. Moon produced.

Songs from the new album, such as “Waiting on the Smoke to Clear,” “Ebb & Flow,” and “Baggage Claim” find Pendrick and Co. moving away from the more cut-and-dried roots-based songwriting of the group’s 2015 album, Big Plans, to embrace a more creative and heavily stylized sound.

On March 20, Grammy winner and Tedeschi Trucks Band singer Mike Mattison will release his second solo album, titled Afterglow, via Landslide Records. The follow-up to 2014’s You Can’t Fight Love was co-produced by Mattison and drummer Tyler “Falcon” Greenwell, and features an eclectic array of blues, Americana, and rock ‘n’ roll numbers. The album also features contributions from guitarist Dave Yoke, bass player Franher Joseph, keyboard player Rachel Eckworth, guitar player Paul Olsen (Scrapomatic), and keyboards by the late Kofi Burbridge, who died in 2019 due to complications related to an ongoing cardiac condition.

And last, but not least, on Sunday, March 22, Soul Food Cypher returns for its regularly scheduled gathering from 6-9 p.m. at The Annex Bookstore (748 Marietta Street N.W.), this time with a celebration of women in hip-hop. Tiye hosts. More details will be announced here as they become available.

Please send local music news to chad.radford at creativeloafing.com.    Leona Tryon OH EVENIN’ STAR: Kristen Englenz’s debut album is out now.  0,0,10                                 ATLANTA MUSIC NEWS: Kristen Englenz shines "
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Tuesday March 3, 2020 12:08 pm EST
Soul Food Cypher celebrates women in hip-hop, plus new music from Lesibu Grand, Tedeschi Trucks Band’s Mike Mattison, and more | more...
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Welcome to Creative Loafing’s weekend roundup podcast for February 20-23! Will Cardwell, Jacob Chisenhall, and Chad Radford discuss their top picks for the weekend, including Monster Jam, Mattiel, the Bongos, and more! Tune in and turn out.

!!Thursday, February 20
 

!!Friday, February 21
 

!!Saturday, February 22
 

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Welcome to Creative Loafing’s weekend roundup podcast for February 20-23! Will Cardwell, Jacob Chisenhall, and Chad Radford discuss their top picks for the weekend, including Monster Jam, Mattiel, the Bongos, and more! Tune in and turn out.

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    {FORMAT(name="eventDate")}{display name="date" default="No date provided"}{FORMAT}
    {FORMAT(name="objectlink")}{display name="title" format="objectlink"}{FORMAT}
    {FORMAT(name="photos")}{display name="wikiplugin_img" format="wikiplugin" fileId="tracker_field_photos" height="400" responsive="y" default="fileId=106"}{FORMAT}
    {FORMAT(name="desc")}{display name="tracker_field_description" format="snippet" length="100" default="No description provided"}%%%{display name="tracker_field_eventCost" default="No price provided"}{FORMAT}
    {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT}
    {FORMAT(name="eventPerformers")}{display name="tracker_field_eventPerformers" format="trackerrender" default=""}{FORMAT}
    {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT}
    {ALTERNATE()}^Nothing found, please try again^{ALTERNATE}
  {LIST} 

!!Saturday, February 22
{LIST()}
    {filter field="tracker_id" content="6"}
    {filter type="trackeritem"}
    {filter field="object_id" content="466894 OR 466854 OR 466985 OR 468090 OR 469017 OR 467659"}
    {sort mode="date_nasc"}
    {output(template="themes/CreativeLoafing/templates/event_results.tpl")}
    {FORMAT(name="eventDate")}{display name="date" default="No date provided"}{FORMAT}
    {FORMAT(name="objectlink")}{display name="title" format="objectlink"}{FORMAT}
    {FORMAT(name="photos")}{display name="wikiplugin_img" format="wikiplugin" fileId="tracker_field_photos" height="400" responsive="y" default="fileId=106"}{FORMAT}
    {FORMAT(name="desc")}{display name="tracker_field_description" format="snippet" length="100" default="No description provided"}%%%{display name="tracker_field_eventCost" default="No price provided"}{FORMAT}
    {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT}
    {FORMAT(name="eventPerformers")}{display name="tracker_field_eventPerformers" format="trackerrender" default=""}{FORMAT}
    {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT}
    {ALTERNATE()}^Nothing found, please try again^{ALTERNATE}
  {LIST} 

!!Sunday, February 23
{LIST()}
    {filter field="tracker_id" content="6"}
    {filter type="trackeritem"}
    {filter field="object_id" content="469016"}
    {sort mode="date_nasc"}
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    {FORMAT(name="eventDate")}{display name="date" default="No date provided"}{FORMAT}
    {FORMAT(name="objectlink")}{display name="title" format="objectlink"}{FORMAT}
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    {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT}
    {FORMAT(name="eventPerformers")}{display name="tracker_field_eventPerformers" format="trackerrender" default=""}{FORMAT}
    {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT}
    {ALTERNATE()}^Nothing found, please try again^{ALTERNATE}
  {LIST} "
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  string(864) " February2020ArtsAgenda1  2020-02-20T16:41:54+00:00 February2020ArtsAgenda1.jpg     Monster Jam, Mattiel, the Bongos, and more 29187  2020-02-20T16:31:03+00:00 PODCAST: Weekend roundup February 20-23 will.cardwell@gmail.com Will Cardwell WILL CARDWELL, JACOB CHISENHALL, AND CHAD RADFORD  2020-02-20T16:31:03+00:00  

Welcome to Creative Loafing’s weekend roundup podcast for February 20-23! Will Cardwell, Jacob Chisenhall, and Chad Radford discuss their top picks for the weekend, including Monster Jam, Mattiel, the Bongos, and more! Tune in and turn out.

!!Thursday, February 20
 

!!Friday, February 21
 

!!Saturday, February 22
 

!!Sunday, February 23
     Brett Moist IRON OUTLAW: Monster Jam speeds towards Mercedes-Benz Stadium February 22 and 23.  0,0,10                                 PODCAST: Weekend roundup February 20-23 "
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Article

Thursday February 20, 2020 11:31 am EST
Monster Jam, Mattiel, the Bongos, and more | more...
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