Respite From the Cold turns VI

• Courtesy David Norbery
• Nathan Brown (left) and Robby Kee perform as Tree Creature at 2010's Respite from the Cold

Nathan Brown and Robby Kee have had more than a hand in cultivating Atlanta's experimental music scene. As Tree Creature, the duo has created expansively off-kilter ambient music that embraces the bizarre and noisy end of the drone spectrum. As current Eyedrum board members, Brown and Kee have maintained a vital venue for left field artists and booked shows all over town, from Eyedrum to satellite venues like the Goatfarm and WonderRoot. The pair also cultivates ongoing, themed series, like Kee's monthly improv-by-design Invent Room Pop and the duo's ambient-focused annual series Respite from the Cold, now in its sixth year of warming tones performed by local acts. Brown took a bit of time while gearing up for this year's Respite (Sat., Dec. 21) to discuss how the series came together and why drone music is the perfect, warming haven from the frigid winter air.

What made you start the Respite series, and did you intend it to be a series?
The whole concept just sort of came at once. I thought it would be neat to have an event that was tailored toward the sole concept of everyone spacing out and relaxing. And I didn't want it to be just another "weirdo music festival" (of which I am a fan, by the way). From the start, Respite was meant to be something that was different from just any show. It's not meant to be a "performance" or "concert" or anything of the ilk. It's an "experience" that is shared with the musicians and the audience members. Even the name of the series sort of defies typical musical connotations.

"Respite from the cold" is sort of sterile and cold in itself but points to sensations and experiences not generally associated with music. I mean, what does "cold" have to do with sound waves? I love talking about music in such terms ... warm sonic sundries, toasty aural fixin's ... its' about intent and reception, and total communal sharing of cozy musical climes. We include low lights and sometimes blankets and hot drinks to make it a well-rounded sensory experience.

It was originally intended to be a one-off event, but Robby Kee (Tree Creature band mate and fellow Eyedrum board member) and I loved the first one so much, we couldn't resist trying it again. We half-jokingly refer to it as "our Christmas present to ourselves" because it's everything that we'd want in a musical event: pleasing sounds from our peers, nice low lighting, warm beverages, happy people in a happy place.

How do you choose the acts involved?
I prefer the lineup to be predominately local. There are so many longstanding unsung artists in the underground music scene that don't really get a chance to do their thing in a live setting. Atlanta is a decidedly and deliciously rock 'n' roll town, after all, and there isn't much of a forum for artists of this type. I want people to be aware of this scene and even get more folks involved. Also, of course, acts are chosen based on their ability to fit in with the concept. The artists should be able to create those comfortable soothing palettes that reinforce the integrity of the event.

Motion Sickness of Time Travel - Eclipse Studies
Eclipse Studies by Motion Sickness of Time Travel

What is it about drone and ambient - not noise - that's conducive to the event?
Drone and ambient music work on that wavelength, you know? Noise is absolutely not excluded from this possibility. Music is all vibration; slower or less frenetic music vibrates in a range that resonates with and reinforces your alpha and theta brain waves, those conducive to relaxation and lower states of consciousness, unlike upbeat rock 'n' roll or dance music, or even harsh noise, which is meant to stimulate and agitate.

Noise, being something that is decidedly non-melodic is not excluded. There is much pleasing bandwidth to be found in alternative sonic environments that may not have much "musicality" to them. The last time I heard Grant Evans (who is on this bill) play live, his entire set was made up of what sounded like a collection of interesting field recordings which he manipulated and wove into a rich and lovely tapestry that put me in a wonderful meditative state.

Like Villages, Asheville artists seem to pop into the lineup. Do you feel a connection to the scene of that city?
I do! There is a lot of interesting music that comes out of that town although it is often transient. Every once in a while, I'll hear of something really great from Asheville and then I'll never hear of it again. Villages came to us via Hooker Vision and we were really happy to have him.

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Some artists who've played in previous years aren't strangers to noise. Is there a strict "no noise" policy of any kind?
You're right! We've had Graham Moore from the amazingly beautiful Blossoming Noise label and this year Kathleen Harriston and Matt G, who were both occasional members of Black Blacks with me, are performing as Moth Manos. There are many others who have been involved in some serious racket, but no, there is no policy against it. Again, noise is relative and really all I ask of the participants is that they consider the scope of the event and try to relate what they are doing to an audience who expects to be put in a certain place. So far, everyone has been able to do this without compromising their musical voice. We've also had artists who were no strangers to rock 'n' roll. Sean from the Impotent Sea Snakes, Matt from Maserati, and Lockett from Deerhunter, but in this context they all bring something different to the table.

Moth Manos - "Vulture"

This year's lineup includes a couple of repeat offenders (Motion Sickness of Time Travel, Grant Evans). Do you intend to include repeats from previous years?
There are a few people that I will always ask based on their contribution to the event and their understanding of it. Robby Kee (Tree Creature, Nows) has been my co-organizer on most of these and will always be a part of it, Chris White (Magicicada) helps me with decorating and organizing and does a lovely job on our posters each year. Graham Moore always brings a different slant to the concept coming from a harsh noise background. Unfortunately Chris and Graham are unable to make this particular one.

Grant and Rachel Evans started with us on Respite IV and they are so perfect for it, I can't imagine the event without them. I imagine as time goes by, we'll add to our little Respite pantheon but I also want to keep it fresh and evolving by adding new characters each year. So far, it's worked to our benefit to have veterans who understand the event and have that peppered with new, fresh acts. I'm really excited for number 6. Moth Manos has never performed one of these and I've been a fan of theirs for some time. Box Elder is Karl from Ship at Sea and I think what he's doing will be a little different from everyone else. Drew Haddon always impresses as well and his new project Snowbride is involved this time around. I'm excited to see what Nomen Novum does, what Nows comes up with and of course to hear Motion Sickness of Time Travel and Grant Evans again!

Grant Evans - Roman Persuasion
Roman Persuasion by Grant Evans

Why change the venue year after year?
The first three were at the old Eyedrum space. When our lease ran up, we scrambled to find a new venue. Robby was able to secure the First Existentialist Church and it was fantastic. We all loved it. They were booked up the following year and so I hit up Chris Yonker who was running a short-lived venue called the Office over on the west side. It was amazing in that we were able to work with multiple rooms and light them in different ways. Everyone was set up at the same time and there was a slow lumbering movement as the audience shifted from room to room - it was so good.

The Office is no more, but Chris runs a new gallery in Downtown called Mammal. I wanted to work with him again based on his previous generosity and he agreed to do it. So, the change of venue wasn't really a choice, but it's become as much of a tradition as the event itself. I would like to keep it up. It keeps the event fresh and potentially evolving as different spaces allow for different possibilities.

Any plans for future Respites?
Maybe come up with a dumb name for a springtime version?

Respite from the Cold VI ft. Snowbride, Grant Evans, Motion Sickness of Time Travel, Nows, Nomen Novum, Hopi Torvald, Box Elder, Moth Manos. $5. Sat., Dec. 21. 9 p.m. The Mammal Gallery, 91 Broad Street SE. 770-605-0090.