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Glenn Phillips and ‘The Dark Parade’

How the former Hampton Grease Band guitarist stopped having panic attacks

Music GlennP1 1 02
Photo credit: Richard Perez
DRIVE ON: Glenn Phillips taking a breather after returning from a 1978 U.K. tour.

Looking back on a more than 50-year career in music Glenn Phillips has a fresh perspective on life. This new outlook began with a panic attack that prompted the guitarist and founding member of Atlanta’s ’60s art rock trailblazers the Hampton Grease Band to take a deep look at his relationship with his parents, bandmates, and with himself. Now, he’s penned a memoir, titled Echoes: The Hampton Grease Band, My Life, My Music and How I Stopped Having Panic Attacks. The book is accompanied by a full-length album of all new material, titled The Dark Parade, and a live DVD capturing a 2015 live show celebrating the 40th anniversary of his first solo album, Lost At Sea. These new releases offer a snapshot of three stations during Phillips’ life, bookending a musical legacy filled with emotional peaks and valleys, coming to terms with his own psychological makeup, and finding a way out of his self-made limitations. While preparing for a September 14 release show at the Red Clay Music Foundry, Phillips discussed his journey from spending his formative years with Bruce Hampton, coping with his life-long adrenaline addiction, to finally seeing the big picture in life.

Creative Loafing: When did your idea for the book start?

Glenn Phillips: When I did the Echoes CD booklet in 1990 I wrote a history of the band. That led me to doing a history on the Grease Band while everybody was still around. I interviewed everyone, which turned into the booklet that came out with the Music To Eat CD reissue. I started writing this book back then, but it has evolved over the years. It still contains the history of those bands, but it contains a lot about my personal story as well.

As I got older, I started having panic attacks whenever I went to see a doctor, which coalesced and connected everything in my mind about my long-term relationships with the people in the Grease Band, the people in my band, my relationship with my family, and how these panic attacks started. That led to me figuring out how to stop having panic attacks. When that happened everything started connecting in my mind. Most of which was already written, but now I had a different perspective on everything. There was a line going through all of my experiences I could see clearly, that I never saw before.

You weren't aware of it until you wrote it down.

When you write stuff down you see things differently. It helped me step back and see the big picture that I couldn't see before, and that's what happened with the panic attacks. Lost At Sea was my way of dealing with my father’s suicide. These panic attacks didn't start till after that happened. I didn't understand the way panic attacks work. And the more they happen, the more intense they get. What started as an aversion to getting a shot, 40 years later turned into me passing out at an eye exam, having convulsions on the floor, calling the EMT’s, and them saying to my wife, Katie, ‘Your husband is having a heart attack.’ She thinks I'm dying. They put me on an ambulance and carted me off. While I'm in the ambulance, the nurse is calling the hospital, saying ‘We're bringing in somebody for cardiac arrest.’ The EMT is looking at the results of the tests coming in and says, ‘Wait a minute, this guy's heart is stronger than mine!’

I was doing this all to myself, and I didn't understand how I got there or why it happened. When I heard Katie crying like she thought I was dying, a thought went through my head: I can never do this to her again. I started reading about panic attacks and it led me to figure out how this happened, which was growing up in a high-anxiety household with alcoholic parents. Don't get me wrong, I loved my parents, but they had issues. My father's alcoholism led to a suicide that led to my 40-year journey of panic attacks. When I made Lost At Sea was really when all this started to escalate.

This slow, gradual process of figuring it out is what I go into in the book. I found a way out and it became a driving motivator, besides wanting to tell my story and documenting this history of the Grease Band and my band. My hope is that maybe this could help someone else with the same problem.

That's something that comes up often in the book, how telling your story could help somebody else.

I started the book in 1990. So I started interviewing the Grease Band around 1989 or 1990. It was simply to document the band’s history. Once it was documented I started seeing things that I didn't fully understand or see before. With the Grease Band, I understand now that we had a common experience for lots of bands: You're coming out of your family as a teenager. You're leaving home, and there are issues that you bring with you. You create a new family and try to work these issues out, but you also project your issues without knowing it. It turns into a complicated relationship. But the overall impact is incredibly positive, despite any stumbling blocks you run into with each other. You're taking each other on this journey and enabling each other for this process of self-discovery and to lead to this point that I was able to get to much later in life. So I look at all of these experiences now, even the difficult ones, in a more positive light.

You’re releasing the book with a new album and a live DVD. Do you see your experiences in putting this book together as manifesting in these other components?

All of the music I've written, from the Hampton Grease Band through all of my albums, has been autobiographical. My solo albums have all been instrumental music, and that might not make sense to some people, but the songs are about me wrestling with these issues throughout my life. I look at all of my music as being a long musical memoir, and this new album is directly connected with all of these realizations we're talking about.

The relationships I've had with people — the bass players, Bill Rea and Mike Holbrook — one or both of them have played on every record I’ve made under my own name, with the Supreme Court, and with the Hampton Grease Band. My relationships with these two guys goes back 50 years. Bill and Mike both played on Lost At Sea. John Boissiere has played drums on my last four albums, including The Dark Parade.

So this connection with people, bands, and making music is a family experience for me. I've never seen it through the realm of business or what's the smartest thing to do businesswise. I've always been led by what feels right. My connection with these people. My whole goal when I made Lost At Sea was to make an emotionally honest record about this experience that I went through. I wanted to make records that transcended genre and styles of the time, and were about emotional honesty and living with the consequences, regardless of how popular or unpopular you are.

Your body of recorded music is largely instrumental — abstract and evocative. To juxtapose this with a book chronicling your experiences is quite a dichotomy.

When you put things into words it helps you see things more clearly. That's what music has always been for me. Even though it’s not verbal communication it is an abstract language. I may write 100 songs for each album, and I’ll go back and listen to the demo tapes. Some of them connect with something in me and I don't always know what it is. I just feel magnetically pulled towards it, the titles usually connect to it, and this process of making the song has been, for lack of a more imaginative word, therapy for me.

The title of the new album is The Dark Parade.

What I grew to understand about anxiety and panic attacks is that there is a huge chemical release. In the book I simplify things; I use adrenaline to cover a lot of things, but mainly you're talking about a huge surge of adrenaline. Think of your fight or flight button, which everybody's familiar with. The more that button gets pressed the more intense the response. So I started thinking, ‘This sounds like a chemical addiction. Can I deconstruct this process?’

Throughout my life, I have been addicted unwittingly to adrenaline. It drove lots of risk-taking behavior. I talk about things in the book, like being at Niagara Falls with the band and hopping over the fence and climbing down the falls. Without even thinking about it, I just do stuff like that. There’s a story in the book about Jeff Calder — back when Jeff was drinking, I wasn't drinking. I didn't have any excuse for getting in the car in the middle of the night and driving backwards over to Bill Rea's house.

We drove the entire way backwards, crossed North Druid Hills Road backwards in the car. Bill’s not home and I say, ‘He takes walks on the golf course at night.’ So we take the car out on the golf course. Jeff and I are driving with no headlights so we don't get caught. Jeff is speeding along and I say, ‘Slow down, you don't know where you're going.’ He says, ‘I know exactly where I'm going.’ At that point we hit a brick wall and my head goes through the windshield. This kind of behavior — this is the parade, this is the excitement of adrenaline.

The dark part is where it led. You're just doing stuff because you're getting the surge of adrenaline. So that song captures that excitement, but doesn't necessarily lead to a good place.

Have you ever talked to a therapist?

No, and I don't want this to sound negative toward anyone talking to a therapist. I have been lucky to be surrounded by close friends, and my wife Katie and I have been together since ’85. We have an incredible relationship and talk to each other about everything. So I don't want to say I haven't talked to a therapist because if I had to pay Katie as a therapist, I would owe her a lot of money. One of the things my mom told me after my dad killed himself was, ‘Your father didn't know how to talk to people. If you ever feel bad, or you don't know what's going on, talk to someone.’ And I've followed that religiously.

My mom's gone now, too, but on her deathbed she relayed to me, ‘Your father's mother killed herself the same way he did. His sister killed herself the same way she did.’ You start seeing how these patterns of behavior are passed on from one generation to the next by not talking about them. I understand now that my parents' alcoholism was anxiety self-medication. So these realizations are like buried information, and playing these songs opens up doors inside you that you don't even know you have.

MUSIC TO EAT: Glenn Phillips with the Hampton Grease Band at Piedmont Park, 1969. Photo by Bill Fibben.
MUSIC TO EAT: Glenn Phillips with the Hampton Grease Band at Piedmont Park, 1969. Photo by Bill Fibben.

You have never touched a drop of alcohol in your life?

No, and I don't want this to sound judgmental on people who drink. I consider myself an alcoholic who's never touched a drop of alcohol. I feel like the greatest gift your parents have to give you is their mistakes, if you learn from them.

I have no doubt that I would be the world's worst alcoholic if I drank. I just knew this intuitively from a young age. Both sides of my family are filled with alcoholism. This gave me an alarm bell when I was younger. I've never smoked pot! I grew up in the ’60s! I was playing all of these pop festivals, playing with the Grateful Dead, the Allman Brothers. I felt very much a part of what was going on. But I knew not to cross that line because it wouldn’t lead to a good place for me.

Having these realizations about your yourself and your mental makeup, does it change the way you perceive your relationships with people in the Grease Band? With Colonel Bruce?

Yes, there were lots of issues going on. Bruce was always a very funny and imaginative guy, and I am not saying this in a negative way, but he made up a lot of stuff. Harold and I weren’t particularly wild about some of the things he made up, like saying he was a songwriter when Harold and I were the songwriters. Galadrielle Allman wrote a book (Please Be with Me: A Song for My Father, Duane Allman), and she talked to Bruce. According to the book, Bruce was the guitar player in the Hampton Grease Band — except Bruce didn't play guitar in the Hampton Grease Band. But the connection we had growing up — my relationship with Bruce started in 1963 and the Grease Band broke up in ’73. The only two people that were in the band the entire six years were myself and Bruce. So we had this really close relationship for 10 of our most formative years, from ages 13 to 23. You encountered bumps in the road, but none of that takes the place of clearing the path for each other for self-discovery. I acknowledge things in the book that happened, but those things do not diminish the importance and the value of what we gave each other.

The band was started with Bruce, myself, and Harold, but everybody else was also incredibly important. Mike Holbrook became the bass player. Jerry Fields, the drummer. There's no way we could have made the music we made without that entire band and the connection between all five of us. It was very connected to the relationships that we had and that we carried with us until this day. I was incredibly close with Bruce, and with Harold till he died. There were times when it was a rocky road, but nothing diminishes that. There's something you give each other that you can't get from somebody else at any other age. When you form your first band, you're all leaving home. The world's a big scary place. Nobody's got your back anymore. That band that you form when you first leave home, this one-time experience, you all have each other's back. That's invaluable.

It's how people describe going off to combat together.

Yes, so reading and writing all of this stuff, seeing the big picture, helped me process all of this. When the band split up with Harold, we went on for a couple of years and had success. That's when we went and played the Fillmore. That's when we signed to Frank Zappa’s label. But for me, in reality, the band ended when the relationship between Bruce, Harold, and myself ended — when Harold left. There's no way you can replace that. When Bruce left the band I was disappointed. In retrospect, we were about to make another album, and I am glad we didn't. It wouldn’t have been right. It would have diminished what Music To Eat was and is. Not that there wasn't anything of value there, but we were struggling to keep what we had when a major piece of it was gone.

I could go off and make Lost At Sea, start over again, and form something new. That was easier to do than trying to recapture what we had.

There’s a song on Dark Parade titled “If Only,” which feels like a Rosetta Stone for everything we’ve been talking about.

“If Only” is a reflection on my life, going through this process, writing this book, realizations, regrets. I call it “If Only” because so much of my life was driven by guilt, not being able to save my parents from their alcoholism, not being able to save my father from killing himself. My dad came and visited me literally hours before he killed himself. I had dreams about him dying. I had no idea what was going on, but I remember asking, ‘Are you okay?’ I had a dream where something happened. He said, ‘I'm fine.’ Growing up, he was very disapproving about me doing music. But he came to visit me and said, ‘You've really got it made. You're doing exactly what you want to do. Don't ever give this up.’

My dad knew he was gonna kill himself. But I didn't know that. So lots of these ‘If Only’ moments, and I look back at my life now and I realize how looking at life from that perspective contributed and led to me having these panic attacks. It's up to me as an adult to turn these negative experiences into positive experiences. My only way to deal with this now is accepting the reality that they were alcoholics. He did kill himself. This had to become something positive in my life. I had to find a way to turn this into a gift of love rather than a disappointment. -CL-

Glenn Phillips’ Book, CD, DVD release party. $18-$20 (adv). $22-$25 (day of). 6:30 p.m. (doors). Sat., Sept. 14. Red Clay Music Foundry, 3116 Main Street, Duluth.



More By This Writer

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  string(72) "New releases from Adam McIntyre, Mathis Hunter, Young Antiques, and more"
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  string(5305) "For most of us, after nearly three months of sheltering in place, the charm of quarantine time has worn off. But for Adam McIntyre of The Pinx, the downtime is proving to be quite an inspiration.

“I was a prolific writer as a teenager, and without my daily tasks of driving kids around and doing things I think I have to do but don’t, I go right back to what recharges and equally burns my energy, which is making music,” McIntyre says. “It’s all I want to do. So knowing that I was about to have a lot of time to create, I decided to get naked.”

McIntyre has created a trilogy of albums — a blues album, The Devil Got My Soul!; a more direct rock ‘n’ roll album, You’re Doing It Right; and a third, currently unreleased, album tentatively titled Quarantology III. McIntyre plans to change the name before it’s unleashed unto the public.

All three albums represent variations on a theme: McIntyre’s efforts to get comfortable without the “rock suit” he’s fashioned for himself while singing and playing guitar with the Pinx. “It’s a wonderful, beautiful suit if I do say so,” he adds. “But what if I wasn’t expected to do that? I took off the suit and made a blues record because that’s how I started. You’re Doing It Right is going even farther into removing identity. It’s running around wearing only purple paint. In space.”

Songs on McIntyre’s third record will largely be about becoming nobody, which he says is based on Ram Dass’s talks on ego vs. identity vs. the soul. “I’m looking to make a very fun record about losing yourself and seeing what is still left,” he says. “I guess it’s a trilogy of taking off your clothes, spiritually.”

To kick off this seemingly spontaneous series, in late March, McIntyre rolled out the first single from The Devil Got My Soul!, titled “Do The Damn Thing,” which features a blistering solo by Wayne Kramer of the MC5.

With all of this new material taking shape, McIntyre has also found time for a whole batch of Pinx songs as well. The group has a new EP tentatively scheduled for a July release, and four to five songs are coming together for the next full-length album as well. More details are coming soon.

Of course, McIntyre isn’t the only local rock dude to turn out a new record this spring. Chunklet Industries and Mathis Hunter’s self-run indie label Ley Lines have teamed up to release Hunter’s latest album, Mood Lighting.

Following a new single from the LP that previewed in April, “Clone It Off,” Mood Lighting emerges as a layered, inward journey that’s as sentimentally profound as it is psychedelic. Each number reflects on the ins and outs of reconnecting with one’s identity in the wake of a relationship coming to an end. For this outing, Hunter takes up guitar, bass, percussion, and various other musical duties, and is joined by a coterie of Atlanta all-stars including drummer Lee Corum, Rich Morris on keys, and Andy Morrison playing guitar and lap steel. 

Keep your eyes peeled for a new video for the album’s closing number “Don’t Be Long” to arrive in June.

In other Chunklet-related news, on June 5, the label is rolling out a handful of stellar new releases including a Honey Radar singles comp featuring liner notes by Byron Coley; a new single by Shark Toys, which includes a Desperate Bicycles cover on the B-side; and 7-inch singles by Atlanta acts Vangas, Reverends, and the almighty Purkinje Shift.

Another Risk Of The Heart is the latest release from longtime Atlanta songwriting hero Blake Rainey and the Young Antiques. Released via Southern Lovers Recording Co., Another Risk Of The Heart is pressed on gorgeous blue vinyl, and finds singer and guitarist Rainey flanked by bass player Blake Parris and new drummer John Speaks (Skirt, the Jody Grind), all reveling in new anthemic songs with titles such as “Euclid Creeper,” “I Think You’ll Never,” and “Goin’ Home” featuring vocals by Atlanta expat Kelly Hogan (Neko Case, the Decemberists, Rock*A*Teens, The Jody Grind).

Each song was recorded in Rainey’s home Southern Lovers Recording Studios, blending his signature blend of power pop hooks and storytelling with a rural Southern inflection and crystalline production. Chris Lopez ( Rock*A*Teens, Tenement Halls) and Tom Cheshire (West End Motel, All Night Drug Prowling Wolves) also make guest appearances throughout the album.

Grace Bellury’s indie rock outfit Karaoke has a new video out for the song “Lo Hi.” The song is set to appear on a forthcoming album, title TBD. The video, directed by DJ Barbie Corvette, is a single shot — no cuts — in which the group’s synth player Adrian Benedykt Świtoń dances and writhes around a glowing hotel room eating pizza, smoking cigarettes, and staring into the camera with fixed, bedroom eyes. Sultry. Absurd. Awesome. The “Lo Hi” video is the first in a series of five new videos in which all members of the group will get their individual screen time. Look for more coming very soon.

Last, but not least, on May 22, Brian Revels & the Heat Lightning released a brand-new album, Jasper County Blues. Check it out on Spotify. —CL—

Send local music news items to chad.radford at creativeloafing.com."
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  string(5454) "For most of us, after nearly three months of sheltering in place, the charm of quarantine time has worn off. But for __Adam McIntyre__ of __The Pinx__, the downtime is proving to be quite an inspiration.

“I was a prolific writer as a teenager, and without my daily tasks of driving kids around and doing things I think I have to do but don’t, I go right back to what recharges and equally burns my energy, which is making music,” McIntyre says. “It’s all I want to do. So knowing that I was about to have a lot of time to create, I decided to get naked.”

McIntyre has created a trilogy of albums — a blues album, ''The Devil Got My Soul!''; a more direct rock ‘n’ roll album, ''You’re Doing It Right''; and a third, currently unreleased, album tentatively titled ''Quarantology III''. McIntyre plans to change the name before it’s unleashed unto the public.

All three albums represent variations on a theme: McIntyre’s efforts to get comfortable without the “rock suit” he’s fashioned for himself while singing and playing guitar with the Pinx. “It’s a wonderful, beautiful suit if I do say so,” he adds. “But what if I wasn’t expected to do that? I took off the suit and made a blues record because that’s how I started. ''You’re Doing It Right'' is going even farther into removing identity. It’s running around wearing only purple paint. In space.”

Songs on McIntyre’s third record will largely be about becoming nobody, which he says is based on Ram Dass’s talks on ego vs. identity vs. the soul. “I’m looking to make a very fun record about losing yourself and seeing what is still left,” he says. “I guess it’s a trilogy of taking off your clothes, spiritually.”

To kick off this seemingly spontaneous series, in late March, McIntyre rolled out the first single from ''The Devil Got My Soul!'', titled “Do The Damn Thing,” which features a blistering solo by __Wayne Kramer__ of the MC5.

With all of this new material taking shape, McIntyre has also found time for a whole batch of Pinx songs as well. The group has a new EP tentatively scheduled for a July release, and four to five songs are coming together for the next full-length album as well. More details are coming soon.

Of course, McIntyre isn’t the only local rock dude to turn out a new record this spring. __Chunklet Industries__ and __Mathis Hunter__’s self-run indie label ''Ley Lines'' have teamed up to release Hunter’s latest album, ''Mood Lighting''.

Following a new single from the LP that previewed in April, “Clone It Off,” ''Mood Lighting'' emerges as a layered, inward journey that’s as sentimentally profound as it is psychedelic. Each number reflects on the ins and outs of reconnecting with one’s identity in the wake of a relationship coming to an end. For this outing, Hunter takes up guitar, bass, percussion, and various other musical duties, and is joined by a coterie of Atlanta all-stars including drummer __Lee Corum__, __Rich Morris__ on keys, and __Andy Morrison__ playing guitar and lap steel. 

Keep your eyes peeled for a new video for the album’s closing number “Don’t Be Long” to arrive in June.

In other Chunklet-related news, on June 5, the label is rolling out a handful of stellar new releases including a __Honey Radar__ singles comp featuring liner notes by __Byron Coley__; a new single by __Shark Toys__, which includes a Desperate Bicycles cover on the B-side; and 7-inch singles by Atlanta acts __Vangas__, __Reverends__, and the almighty __Purkinje Shift__.

''Another Risk Of The Heart'' is the latest release from longtime Atlanta songwriting hero __Blake Rainey__ and the __Young Antiques__. Released via __Southern Lovers Recording Co.__, ''Another Risk Of The Heart'' is pressed on gorgeous blue vinyl, and finds singer and guitarist Rainey flanked by bass player Blake Parris and new drummer John Speaks (Skirt, the Jody Grind), all reveling in new anthemic songs with titles such as “Euclid Creeper,” “I Think You’ll Never,” and “Goin’ Home” featuring vocals by Atlanta expat __Kelly Hogan__ (Neko Case, the Decemberists, Rock*A*Teens, The Jody Grind).

Each song was recorded in Rainey’s home Southern Lovers Recording Studios, blending his signature blend of power pop hooks and storytelling with a rural Southern inflection and crystalline production. __Chris Lopez__ ( Rock*A*Teens, Tenement Halls) and __Tom Cheshire__ (West End Motel, All Night Drug Prowling Wolves) also make guest appearances throughout the album.

__Grace Bellury__’s indie rock outfit __Karaoke__ has a new video out for the song “Lo Hi.” The song is set to appear on a forthcoming album, title TBD. The video, directed by __DJ Barbie Corvette__, is a single shot — no cuts — in which the group’s synth player __Adrian Benedykt Świtoń__ dances and writhes around a glowing hotel room eating pizza, smoking cigarettes, and staring into the camera with fixed, bedroom eyes. Sultry. Absurd. Awesome. The “Lo Hi” video is the first in a series of five new videos in which all members of the group will get their individual screen time. Look for more coming very soon.

Last, but not least, on May 22, __Brian Revels & the Heat Lightning__ released a brand-new album, ''Jasper County Blues''. Check it out on Spotify. __—CL—__

''Send local music news items to chad.radford@creativeloafing.com''."
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  string(5841) " Adam McIntyre Of The Pinx Web  2020-06-04T13:39:00+00:00 Adam_McIntyre_of_the_Pinx_web.jpg    amn atlmusicnews New releases from Adam McIntyre, Mathis Hunter, Young Antiques, and more 31431  2020-06-04T03:59:00+00:00 ATLANTA MUSIC NEWS: Music for guys who like music jim.harris@creativeloafing.com Jim Harris Chad Radford Chad Radford 2020-06-04T03:59:00+00:00  For most of us, after nearly three months of sheltering in place, the charm of quarantine time has worn off. But for Adam McIntyre of The Pinx, the downtime is proving to be quite an inspiration.

“I was a prolific writer as a teenager, and without my daily tasks of driving kids around and doing things I think I have to do but don’t, I go right back to what recharges and equally burns my energy, which is making music,” McIntyre says. “It’s all I want to do. So knowing that I was about to have a lot of time to create, I decided to get naked.”

McIntyre has created a trilogy of albums — a blues album, The Devil Got My Soul!; a more direct rock ‘n’ roll album, You’re Doing It Right; and a third, currently unreleased, album tentatively titled Quarantology III. McIntyre plans to change the name before it’s unleashed unto the public.

All three albums represent variations on a theme: McIntyre’s efforts to get comfortable without the “rock suit” he’s fashioned for himself while singing and playing guitar with the Pinx. “It’s a wonderful, beautiful suit if I do say so,” he adds. “But what if I wasn’t expected to do that? I took off the suit and made a blues record because that’s how I started. You’re Doing It Right is going even farther into removing identity. It’s running around wearing only purple paint. In space.”

Songs on McIntyre’s third record will largely be about becoming nobody, which he says is based on Ram Dass’s talks on ego vs. identity vs. the soul. “I’m looking to make a very fun record about losing yourself and seeing what is still left,” he says. “I guess it’s a trilogy of taking off your clothes, spiritually.”

To kick off this seemingly spontaneous series, in late March, McIntyre rolled out the first single from The Devil Got My Soul!, titled “Do The Damn Thing,” which features a blistering solo by Wayne Kramer of the MC5.

With all of this new material taking shape, McIntyre has also found time for a whole batch of Pinx songs as well. The group has a new EP tentatively scheduled for a July release, and four to five songs are coming together for the next full-length album as well. More details are coming soon.

Of course, McIntyre isn’t the only local rock dude to turn out a new record this spring. Chunklet Industries and Mathis Hunter’s self-run indie label Ley Lines have teamed up to release Hunter’s latest album, Mood Lighting.

Following a new single from the LP that previewed in April, “Clone It Off,” Mood Lighting emerges as a layered, inward journey that’s as sentimentally profound as it is psychedelic. Each number reflects on the ins and outs of reconnecting with one’s identity in the wake of a relationship coming to an end. For this outing, Hunter takes up guitar, bass, percussion, and various other musical duties, and is joined by a coterie of Atlanta all-stars including drummer Lee Corum, Rich Morris on keys, and Andy Morrison playing guitar and lap steel. 

Keep your eyes peeled for a new video for the album’s closing number “Don’t Be Long” to arrive in June.

In other Chunklet-related news, on June 5, the label is rolling out a handful of stellar new releases including a Honey Radar singles comp featuring liner notes by Byron Coley; a new single by Shark Toys, which includes a Desperate Bicycles cover on the B-side; and 7-inch singles by Atlanta acts Vangas, Reverends, and the almighty Purkinje Shift.

Another Risk Of The Heart is the latest release from longtime Atlanta songwriting hero Blake Rainey and the Young Antiques. Released via Southern Lovers Recording Co., Another Risk Of The Heart is pressed on gorgeous blue vinyl, and finds singer and guitarist Rainey flanked by bass player Blake Parris and new drummer John Speaks (Skirt, the Jody Grind), all reveling in new anthemic songs with titles such as “Euclid Creeper,” “I Think You’ll Never,” and “Goin’ Home” featuring vocals by Atlanta expat Kelly Hogan (Neko Case, the Decemberists, Rock*A*Teens, The Jody Grind).

Each song was recorded in Rainey’s home Southern Lovers Recording Studios, blending his signature blend of power pop hooks and storytelling with a rural Southern inflection and crystalline production. Chris Lopez ( Rock*A*Teens, Tenement Halls) and Tom Cheshire (West End Motel, All Night Drug Prowling Wolves) also make guest appearances throughout the album.

Grace Bellury’s indie rock outfit Karaoke has a new video out for the song “Lo Hi.” The song is set to appear on a forthcoming album, title TBD. The video, directed by DJ Barbie Corvette, is a single shot — no cuts — in which the group’s synth player Adrian Benedykt Świtoń dances and writhes around a glowing hotel room eating pizza, smoking cigarettes, and staring into the camera with fixed, bedroom eyes. Sultry. Absurd. Awesome. The “Lo Hi” video is the first in a series of five new videos in which all members of the group will get their individual screen time. Look for more coming very soon.

Last, but not least, on May 22, Brian Revels & the Heat Lightning released a brand-new album, Jasper County Blues. Check it out on Spotify. —CL—

Send local music news items to chad.radford at creativeloafing.com.    Courtesy Adam McIntyre PURPLE HAZE: Adam McIntyre of the Pinx.  0,0,10    AMN atlmusicnews                             ATLANTA MUSIC NEWS: Music for guys who like music "
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  string(82) "New music from DfTaLS, Misanthropic Aggression, Tears For the Dying, and Bad Moods"
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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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  string(6580) "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.”

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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(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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  string(8231) "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@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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     CHRISTIAN HAGSTEDT INDUSTRIAL POP: Algiers plays 529 Saturday, March 14.  0,0,10                                 PODCAST: Weekend roundup March 13-15 "
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Friday March 13, 2020 12:15 pm EDT
ASO presents Return of the Jedi, Uniform & The Body, and more | more...
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  string(128) "Soul Food Cypher celebrates women in hip-hop, plus new music from Lesibu Grand, Tedeschi Trucks Band’s Mike Mattison, and more"
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  string(6050) "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."
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  string(6169) "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 [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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Article

Tuesday March 3, 2020 12:08 pm EST
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