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Interview: Larkin Grimm

Thursday, November 19th, 2009

LarkinGrimm_JimGavenus

You’re from Dahlonega, correct?

Yeah, I’m home and I’m sitting here with this huge view of the Appalachian mountains and it’s great and there are church bells singing some Southern hymn. I was born in Memphis and then I lived in Atlanta for 5 or 6 years — Grant Park. My dad was an Appalachian fiddler and he wanted to learn from a teach who lives up here, named Bruce Molsky. We moved here so he could be closer to the fiddle and banjo people.

Does he still play?

Yeah, his name is John Grimm and he’s in a band called the Georgia Potlickers and he has a music store up here called Vintage Music on the Dahlonega square.

Did your interest in music stem from growing up watching your father play?

Definitely, it’s kind of all he does. He’s always worked like 16 hours a day teaching lessons, doing repairs and selling instruments. In the evenings he’s either playing a show himself or working with a recording engineer or sound engineer somewhere. If I was hanging out with my dad it was always at a concert or at his shop. I used to walk home from school and he would give me a nickel to tune all of the guitars in the shop.

He’s really into Eastern music as well — he was a hippie — so he was trying to give me a classical Indian kind of training where you have to spend years tuning an instrument before you can actually play it.

“Ride That Cyclone” mp3

Larkin Grimm plays Variety Playhouse Sat., Nov. 21 with the Mountain Goats and Final Fantasy. $17.50. 9 p.m. 1099 Euclid Ave. 404-524-7354.

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White Denim: Fits

Thursday, November 19th, 2009

white denimWhite Denim’s Fits wields a dizzying, ADD aesthetic that brims with rhythmic dexterity. By design, nothing stays in one place for too long. “Radio Milk How Can You Stand It” opens with a wash of noise that bursts into rhythms snaking through funk, psychedelia and art-rock terrain. The music careens wildly, crashing against the noise-damaged, Tex-Mex spaz of “El Hard Attack Dcwyw” and the spaced-out dub of “Sex Prayer.” At the half-way point, the group’s meds seem to kick in as “Mirrored and Reverse” settles into a groove that continues its wild directional changes but tames the atmosphere. The group’s execution of such lurching musical bouts is impressive, but the rapid-fire nature of it makes Fits an exercise in difficult listening. (Downtown Music) 3 out of 5 stars.

Terry Riley coming to Big Ears in 2010

Wednesday, November 18th, 2009

terry-rileyFrom March 26-28, Knoxville, Tenn., is hosting the second annual Big Ears festival of “visionary music, exploratory art, and southern hospitality.”

Terry Riley will serve as this year’s Artist in Residence for the weekend with a series of concerts celebrating his 75th year on this planet.

The Daily Swarm says,

“One of the most influential musicians and composers of the past century, Terry Riley’s impact and influence on contemporary music and art cannot be overstated. In 1964, his revolutionary composition, In C, launched the Minimalist movement in music and his influence is still heard today in the work of Philip Glass, Steve Reich, John Adams and other classical composers. His subsequent early works, A Rainbow in Curved Air and Poppy Nogood, with their kaleidoscopic, psychedelic atmospheres, sent waves across the musical worlds of the 1960s, strongly reflected in the music of the Who, Pink Floyd, and other rock bands of the time. That influence continues today in the music of Radiohead and Animal Collective and even the National and Bon Iver. It’s no surprise that Terry Riley was recently selected by the London Times as one of the ‘1000 Makers of the 20th Century.’”

(Photo courtesy The Daily Swarm)

Heavy Trash play the Earl/Criminal Thurs., Nov. 19

Wednesday, November 18th, 2009

Heavy Trash(2)Jon Spencer of Pussy Galore, Boss Hog and Blues Explosion fame rolls through town fronting a new duo, dubbed Heavy Trash, to play the Earl this Thurs., Nov. 19 at 9 p.m. Tickets are $10 (adv). $12 (door).

… and if that’s past your bedtime, you can catch an early free show at Criminal Records the same day at 6:30 p.m.

Jon Spencer and Matt Verta-Ray are… Heavy Trash! On stage and in the studio, Jon Spencer has destroyed and rebuilt American roots music with such ferocity and wild abandon it is hard to believe that there is anything left. The trail of musical destruction in the wake of his groovy hate-fuck combo Pussy Galore still smolders with the stench of avant punk trash and nasty garage ooze and grind, while his towering work with the Jon Spencer Blues Explosion remains an indelible totem to his enormous mojo spirit and red-hot power of deliverance. He is Daddy Boss Hog! He is the Blues Exploder and Microphone Destroyer! A Gibson Brother! The man who shared a Chicken Dog with Rufus Thomas, got Soul with R.L. Burnside, and enjoyed a greasy Lap Dance with Andre Williams! He is The Man Who Loved too Much!!! Now, with his pal Matt Verta-Ray, he has become Heavy Trash, and is inviting you to a Midnight Soul Serenade.

“Gee, I Really Love You” mp3

(Photo courtesy Press Here Publicity)

Video for Heavy Trash’s “(Sometime You Gotta Be) Gentle” below.

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Skinny Puppy bites back

Wednesday, November 18th, 2009
Skinny Puppy regroups while its release hangs in limbo.

Skinny Puppy regroups while its release hangs in limbo.

Even Skinny Puppy, the last great industrial band on the planet, is feeling the bite of the flailing global economy. As the group’s surviving members, frontman Ogre (Kevin Ogilvie) and drummer/programmer cEVIN Key (Kevin Crompton) embark on their In Solvent See Tour, they do so empty-handed. In May, the group’s label, the German-based SPV Records, filed for insolvency – the European version of filing Chapter 11. As a result, the group’s 13th studio album, ironically crafted as commentary on the current state of the U.S. economy, is left in limbo with no word as to when it will be released.

“It’s a clusterfuck,” Ogre huffs. “We worked on another album that was to be a throw-away, just to get us away from SPV, but we had a disagreement internally. So Mark [Walk] and I, who work on ohGr records, took it back. It turned out to be some of the best and most productive recording I’ve done in my whole life, so it’s going to become an ohGr record.”

Continue Reading “Skinny Puppy bites back”

(Photo Courtesy Austin Young)

King Khan and Kristen Klein are free and on the road again

Tuesday, November 17th, 2009

Kristen-Klein-King-Khan

Much hullabaloo has been made after Arish “King” Khan and the King Khan & BBQ Show’s road manager Kristen Klein were arrested in Christian County, Kentucky last week.  The two were picked up on alleged charges of possession of a controlled substance (mushrooms) and driving on a suspended license.

The full details of the arrest can be read on the Kentucky New Era’s website.

Klein appeared in court yesterday (Mon., Nov. 16), after which the band issued a statement breaking down the situation as it stands now.

“On November 16, 2009 Kristin Klein entered a guilty plea to 2nd degree possession of a controlled substance in Christian County, Kentucky. Ms Klein was driving a rental vehicle that was randomly stopped at a safety checkpoint. Officers located a controlled substance in the cab of the vehicle. Ms Klein was unaware of the contraband and the validity of her license was indeterminable at time of arrest. Under KY law a driver of a vehicle is responsible for its contents. Therefore, Ms Klein entered a guilty plea and is scheduled to appear on April 2, 2010 to provide proof of her valid license.

“King Khan & BBQ Show are driving through the night to make their Los Angeles show at Troubadour tomorrow. Tonight’s show in Phoenix is cancelled, but all further west coast dates and will to be honored. Kristin Klein is safe with the band and continuing her tenure as tour manager.”

Klein explained over the telephone today that despite their best efforts they won’t be able to play the show in Los Angeles scheduled for tonight and are now en route to San Francisco to make it in time to play at the Independent on Wed., Nov. 18.

Klein spoke off the record about the incident, but explained that despite their Canadian citizenship, an international incident was avoided. In other words, no one is being deported and the King Khan and BBQ show can and will go on.

(Photo courtesy Kristen Klein’s facebook)

The xx play free Criminal Records in-store tonight

Tuesday, November 17th, 2009

the xx

Don’t fret if you’re one of the unlucky ones who didn’t act fast enough to get a ticket for the XX show tonight at 529. The group is playing a free in-store show at Criminal Records in L5P tonight (Tues., Nov. 17) at 8 p.m.

With their self-titled debut, Londoners The xx drift through a mire of boy-girl, twentysomething sexual and emotional ruminations via sparse atmospheres and occasionally evolved pop melodies that hide mostly in the shadows. But when it comes to the surface in “VCR,” “Crystalised” and “Basic Space,” their simple, economical songwriting soars far beyond their years.

Continue reading…

Show up early as it will most likely be huge.

Criminal Records is located at 1154-A Euclid Ave. 404-215-9511.

Atlas Sound’s ‘Doctor’ b/w ‘The Screens’ virtual 7-inch is up for download

Tuesday, November 17th, 2009

Atlas Sound-DoctorAtlas Sound has a new virtual 7-inch single posted as a free download over at Deerhunter’s blog. The A-side features a cover of a bounding pop number called “Doctor” by the old school Doo-Wop group, the Five Discs.

The B-Side is a very slow bout of moonlit harmonica doodling and cooing. If you caught Atlas Sound during the most recent tour with the Selmanaires, you most likely caught a glimpse of Bradford Cox’s introduction of the wretched blues harp. It’s tough to bring said instrument into the fold while maintaining even the slightest sense of sincerity, but he seems to be working it in pretty seamlessly. But to wield it for anything more than subtle texture would be the death of the song — as such its presence alone creates beautiful, psychological tension.

The harmonica’s arrival also coincides with an equally unexpected flare for pop narrative, as portrayed on the flipside of this virtual single. But there’s a push toward conflict as well as Cox seems to have also developed an affinity for mashing-up Neil Young-style stridency, longing and melancholy in one fell swoop. Still, it’s a cool couple of songs that show him expanding his repertoire and embracing some changes stylistically while keeping a grasp on his own musical fingerprint.

“Doctor” mp3

“The Screens” mp3

Duet for Theremin and Lap Steel: Live

Tuesday, November 17th, 2009

Duet_mashupDuet for Theremin and Lap Steel’s latest offering captures two sprawling masses of improvised drones too harmonious to be called avant-garde and too experimental for stuffy modern classical terms. These sounds are the product of two minds sharing a single headspace and letting the music drive – which is typical of the Atlanta duo. From the onset of the 23:56 minute opener “Live at Eyedrum,” the lines are blurred as each instrument’s respective whines and whirs waver in a dream state. The longer 33:18 minute piece, “Live at Kavarna,” embodies everything the subconscious mind finds appealing when deciphering the beauty in whale songs, haunted house sounds and dog whistles. Here, they collide with the cerebellum in a graceful, slow-motion crash. Put it on and drift away. (Self released) 4 out of 5 stars.

Review: Pylon Chomp More

Monday, November 16th, 2009

pylon-chomp

The reissue of Pylon’s second album, Chomp, arrived like a thief in the night in October. Like the DFA-sanctioned reissue of its predecessor, Pylon’s debut full-length Gyrate,  the sound qualities have been greatly improved and some strange odds and ends have been tacked on as well.

Dubbed Chomp More, the reissued album benefits a good deal from the remaster treatment it received for this first-time CD appearance. The brighter cadences and darker nuances of opening number “K,” along with “Yo-Yo,” “Italian Movie,” “Buzz” and the album’s undisputed classic “Crazy” unfurl with the bounce, hazy disco, punk and funk angles that defined alternative rock when Chomp was initially released in 1983.

It’s a natural instinct to blather on about the group’s Athenian cohorts R.E.M. and the B-52’s when trying to qualify what made Pylon such a revered part of Athens’ musical heritage. But Pylon wielded a darker sexual, emotional and cerebral edge. The only thing they had in common with those other bands was time and place. It’s more fitting to drop names like PiL, Siouxsie and the Banshees, Gang of Four and Wire if you’re attempting to peg the group’s post-punk and raw new wave aesthetics. But even those comparisons don’t quite add up either. “No Clocks” and “Reptile” are rigid songs by design, underscoring the group’s signature styles — mechanical rhythms, sparse and chattering guitar lines and Vanessa Briscoe-Hay’s growling mantras that all compliment each other with balanced precision. But there’s a looseness to it all that swells within these songs, and an element of simplicity that taps into the higher functions of musical cognition.

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Eyedrum’s Earball kicks off today

Saturday, November 14th, 2009

EARBALL

Eyedrum is hosting its First Annual Ear Ball All-day music and sound-art event to showcase the diversity of the long-standing Atlanta art and music gallery’s programming today, Sat.,  Nov. 14.

Eyedrum will host an all-day extravaganza on two stages, and at site specific locations throughout the building. The First Annual Ear Ball was originally conceived as a fundraiser for Eyedrum Art & Music Gallery, the 11 year old Atlanta arts organization that narrowly averted closing this past summer. The event has since grown into “a celebration of the diversity of music and sound art that Eyedrum has presented to Atlanta audiences over the years,” says Allen Welty-Green, the chair of Eyedrum’s Board of Directors, and organizer of the Ear Ball.

Eyedrum’s Earball kicks off at noon. Sat., Nov. 14. $5-$20 (pay what ever you can). 290 MLK Jr. Drive SE. 404-522-0655.

Click below for a tentative list of acts performing.

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Funeral details for Maserati drummer Jerry Fuchs

Wednesday, November 11th, 2009

Jerry Fuchs

The funeral for Maserati drummer Jerry Fuchs will be held at the Catholic Church of St. Ann in Marietta on Tues., Nov. 17 at 7:30 p.m.

Fuchs died in the early hours of Sun., Nov. 8 after suffering a fall down an elevator shaft in Brooklyn, NY. He was 34 years old.

Earlier this week WNYC posted a tribute to Fuchs.

(Photo courtesy www.myspace.com/7549671)

The xx: xx

Wednesday, November 11th, 2009

XXWith their self-titled debut, Londoners, The xx drift through a mire of boy-girl, twentysomething sexual and emotional ruminations via sparse atmospheres and occasionally evolved pop melodies that hide mostly in the shadows. But when it comes to the surface in “VCR,” “Crystalised” and “Basic Space,” their simple, economical songwriting soars far beyond their years. Vocalist Jamie Smith coos her regrets, apologies and desires with spaciousness and allure, leaving plenty of room to roam in every song. Romy Croft delivers deep, ethereal guitar lines that fit perfectly, but he has the voice of a breathy gorilla with a mouthful of marbles and he ruins the moment every time he emotes. It’s not enough to kill the record, but in an otherwise perfectly sensual balance he’s hard on the ears. (Young Turks) 4 stars out of 5

The Sunglasses get Bad Happy

Wednesday, November 11th, 2009

TheSunglassesMore than one member of the band The Sunglasses sports a fading, blue-green, prison-style tattoo of the letters F.I.D. Drummer Ray Fleming wears it on his arm, while the others don them on less visible parts of their bodies. When asked about it, they give each other a shifty look before Fleming sheepishly offers, “It stands for ‘Fuck It Dude.’” While that isn’t necessarily the Atlanta-based band’s philosophy, it’s a credo that drives the brash and arty post-hardcore rhythms of its newly released debut album Bad Happy (Trans Ruin/Dark Wolf Records).

It isn’t easy to describe the sound that Fleming, along with drummer Daniel Deckebach, bass player Zach Rivers and vocalist Josh Lyner have concocted. Songs such as “100 Names,” “Chut Brittany” and “Smoke It” swing wildly between noise rock, grunge and drug-damaged pop, with math rock leanings. “I usually try to come up with the stupidest riff I can think of and morph it into a nasty pop song,” Deckebach explains. By stupid, he means unorthodox. “I can’t really shred on guitar so I’ll think, what sounds really ridiculous and doesn’t make sense with these weird-sounding chords, but then have it tie the whole song together.”

Continue Reading “The Sunglasses get Bad Happy

The Flatlanders play Smith’s Olde Bar tonight

Tuesday, November 10th, 2009

The Flatlanders(2)

Butch Hancock, Joe Ely and Jimmie Dale Gilmore, better known as Lubbock, Texas’ hard luck country legends the Flatlanders play Smith’s Olde Bar tonight (Tues., Nov. 10) in support of their latest record, Hills and Valleys.

The first time around, Jimmie Dale and the Flatlanders’ self-titled 1972 debut, which only appeared as an 8-Track, was the big bang of the alt. country universe.

Since it’s 1990 CD reissue, dubbed More A Legend Than A Band, the Flatlanders have basked in their mystique, and since ‘02 have been continually churning-out solid, Lone Star State tales that swell with personal and political turmoil and a songwriter flare that recalls a more elegant time for country music.

The Flatlanders play Smith’s Olde Bar tonight. $30. 7 p.m. (early door). 1578 Piedmont Ave. 404-875-1522.

Hills and Valleys mp3 sampler

(Photo by Will Van Overbeek)

Of Montreal’s James Husband unveils ‘Window’ video

Tuesday, November 10th, 2009

This week Of Montreal’s Jamie Huggins, a.k.a. James Husband, released the video for “Window,” from his solo debut, A Parallax I via Spinner.com. The album was released Oct. 20 via Polyvinyl, and is the culmination of 12-years worth of song writing, and was recorded between 2003 and 2008.

Echo & the Bunnymen: The Fountain

Tuesday, November 10th, 2009

music_mashups4-2_28Echo & the Bunnymen’s best songs have always swelled with hopeless romance weighed against distress and an almost creepy sense of longing. The sweeping mood of their groundbreaking early ’80s records has steadily evaporated since their mid-’90s reformation, but concise pop tendencies have grown in its wake. The Fountain isn’t poorly executed, it’s just a bit samey. Ian McCulloch’s dark croon in “Shroud of Turin” and the title track evoke everything that ever made the group so fantastic. And Will Sergeant’s flourishing melodies are equally evocative in “Life of a Thousand Crimes,” the album’s strongest number. But 25 years ago these would have been killer B-sides. As such, The Fountain always take a backseat to such ’80s staples as Crocodiles, Porcupine, and Ocean Rain. (Great American) 3 stars out of 5

Maserati drummer Jerry Fuchs R.I.P.

Sunday, November 8th, 2009

CL was saddened to learn that Jerry Fuchs, drummer for Athens’ band Maserati, as well as the Juan Maclean, !!! and Turing Machine, died in the early hours of Sun., Nov. 8 after falling down an elevator shaft in Brooklyn, New York. He was 34 years old.

According to a New York Times report:

At about 12:30 a.m. Sunday, Mr. Fuchs, 34, who had attended a benefit party on the building’s seventh floor, was stuck on a freight elevator between the fourth and fifth floors, friends and the police said. He had been trying to jump out of the stalled car when his jacket got caught on something, causing him to fall to the bottom of the shaft. Another man, who was not identified by the police, was riding with Mr. Fuchs in the elevator but safely jumped to a fourth floor hallway.

Bob Weston explains why the Jesus Lizard reissues sound so good

Friday, November 6th, 2009
Bob Weston

Bob Weston Self-portrait

Mastering Engineer at Chicago Mastering Service Bob Weston (Shellac, Mission of Burma) discusses what made the reissues of the Jesus Lizard’s Touch & Go records, Pure, Head, Goat and Liar sound better and louder.

Chad Radford: Did you have any reservations about whether or not the Jesus Lizard’s records should be touched-up?

Bob Weston:  Well, “no” is the simple answer. But the question is wrong. We didn’t “touch them up.” That implies that we took the mastered versions from the original mastering jobs and made some changes to those. Instead, we did an entirely new mastering job from scratch… Like the records had just been recorded and mixed the week before we started.

There have been major improvements in analog to digital conversion quality, and in digital audio level metering in the years since these records were first mastered. Simply playing the stereo master tapes back through modern mastering-grade analog to digital converters will immediately make the CDs sound a lot better. And then the ability to properly meter the digital audio as it is being converted allows us to take advantage of all the headroom allowed in the digital audio domain. Whereas in the past, engineers needed to be more conservative with digital audio levels in order to prevent any digital “overs” (which would cause the Master CD to be rejected by the pressing plant).

Even if we had done nothing different from the original mastering sessions in terms of processing the sound with equalization and compression, these new masters would immediately sound better and louder.

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Interview: Mac McNeilly of the Jesus Lizard

Thursday, November 5th, 2009
TJL_Treegun_(by_Joshua_Black_Wilkins)

Mac McNeilly (right)

Chad Radford:  You’re a local guy, or you used to be.

Mac McNeilly:  Yeah, I grew up in Atlanta and have a lot of really fond memories of hanging out there, but ever since ’89 I’ve been making Chicago and the Chicago area my home.

How did you make the jump from playing in Atlanta bands like 86 and Phantom 309 to the Jesus Lizard?

Well, 86 played a show in Austin, Texas, and I met David Yow. He and David Sims were at the club where we played. We introduced ourselves to each other and I said ‘I like the way you sing and I like Scratch Acid,’ and he said ‘I like the way you play drums.’ So we both said something like maybe some day we can do something together musically. It was one of those things where you say something that would really be a great thing to do, but don’t think anything will come of it. We traded numbers anyway and I got a call from David Yow a couple of years later. He said ‘we’re putting this thing together in Chicago and we have an EP that we’ve done with a drum machine. I can send you a tape because we want to put a live drummer in there and actually be a band.’ When they did the EP it was just a recording project. I don’t think they had any plans to make a rock band out of it, but they changed their mind and I went up in the summer of ’89 to try out. I was playing bass in Phantom 309, but I’m not a bass player and it was a way for me to get back to playing drums. David sent me a tape of the EP and I really liked what I heard. It was the kind of music that I could really adapt drumming to so I went up and it clicked right away.
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