Loading...
 

Distal's electronic odyssey

Retrograde Space Opera builds a conduit for freeform expression

To the unacquainted, East Cobb's Chimney Springs seems like an insular North Atlanta suburb. However, in the late '90s this conventional neighborhood was the site of underground death matches that left a permanent mark on at least one survivor. "When I was in school we'd have these LAN local area network parties; there would be 15 kids sitting in a dark basement with our computers hooked together, playing first-person shooters Unreal Tournament and Quake," says DJ and producer Michael Rathbun, who operates under the name Distal. "While running around shooting at each other in these modified games, we'd trade music, and listen to all kinds of stuff including hardcore breakbeats, techno, and Coil.

"The games, the soundtracks, the ways we had to dial in, the technology in general was all glitchy, not perfect, but that influenced me," he adds.

All of this computer-centric behavior bred a legacy of DJs and electronic music composers who have come a long way from learning about rave culture through Internet Relay Chat forums, and are now themselves the subjects of threads, playlists, and shows. Rathbun has taken the confluence of bass-fragged samples and long nights of dilated pupils, mixed in a love of science fiction, comic books, and polyrhythmic interfacing, and produced Retrograde Space Opera, his latest album and first release for his new label, Anarchostar. The label is a canvas for a psychedelic story to be told, and the album an outlet for evolving the synth-glazed and stuttering electro-funk Rathbun has been debugging since 2007. There was a long period, however, that informed his sound after electronic music helped him leave behind a typical suburban prog-rock and hip-hop upbringing.

"I DJed for eight or nine years before I started production," Rathbun says. "I knew it was time to create original things when I started turning my sets into free-for-alls. I'd get kicked out of clubs for playing breakcore, mixing gabber with Southern rap. I made promoters cry, got in fistfights."

Among the more ragged genres Rathbun etched into battered subwoofers were happy hardcore, Detroit techno, and drill 'n' bass. They were augmented by tracks from the Warp Records and Planet Mu continuums, including Aphex Twin, Boards of Canada, Venetian Snares, and Atlanta's own Richard Devine. Then, just as party stagnation and DJ aggression set in, dubstep opened a wide sonic palette of entries for fans of styles from jungle to tech-house. Finding resonance in the distending bass, tribal skitters, and reverb of artists such as Bristol, UK producer Pinch. Rathbun turned to digital audio workstation Logic, as well as his bountiful sample collection, to reverse-engineer the sensation of maximized minimalism.

"I had been playing with all this noise, these walls of sound, and then I stumbled on 'Underwater Dancehall' by Pinch, as well as 'Kingdom' by Untold, and I became obsessed with how these guys made mixes that were so open but so dominating," Rathbun says. "I remember sitting in my bedroom studio surrounded by speakers and controllers, making the whole house hate me as I had the same track looping for hours while working on mixdowns that replicated that command of space."

Experimentation, software manuals, and a subscription to British audio technology magazine Future Music led to a less complicated mix for Rathbun. All those hours carving deviant bass paid off when Pinch approached Rathbun to release singles and then Distal's debut LP, Civilization, via Tectonic Recordings. Along the way Rathbun promoted the fluctuations of low-end on the scene through releases on numerous international labels, co-founding promotions group Atlanta Dubstep and Embassy Recordings, and getting locally produced tracks into the hands of radio-show tastemakers such as Baltimore's Joe Nice and the UK's Gilles Peterson.

However, much like drum 'n' bass years before, dubstep codified around a central, more industrial style (derided as "brostep" by the underground). Rathbun drifted away from the glowsticks and toward more percolating facets of Chicago house and juke/footwork, as well as contemporaries such as ambient, refracted Oneohtrix Point Never, scorched techno sequencers Vatican Shadow, and Andy Stott. Locally, Rathbun cites Tomahawk Chop Squad, HYDRABADD, and Makonnen as a few recent names in bass saturation to watch.

He also embraced the idea of being an album/long-form EP artist rather than someone putting out more disposable singles online. This evolution culminates in the high-concept umbrella that is Retrograde Space Opera and Anarchostar.

The narrative — to be revealed slowly online and across CD and vinyl packaging — is a dystopian vision of a civilization's destruction/advancement. Set on an unknown planet thousands of years in the future, the story describes a world ravaged by bureaucrats that have squandered all natural resources. Sequestered on a dying, overcrowded planet by the uncaring upper echelon, the inhabitants are galvanized by a hero determined to lead them from tyranny, toward the planet's center and through a portal leading to the Anarchostar.

This plotline evolved out of a journal of sorts, collecting swatches fueled in part by the real-life revelations of NSA programs, drones, ISIS, etc., that populate the Nineteen Eighty-Four-like news. It's born on Rathbun's lifelong love of sci-fi and acid western films such as Star Wars, Dune, Akira, Blade Runner, Dark Star, and The Holy Mountain, among others, as well as his love of French illustrator Moebius and graphic novels that touch on issues of spirituality, society, and personal liberty.

The visual aesthetic is a collaboration with Argentinian vector artist Freschore, who met Rathbun when he booked him for a South American gig. Their politicized, universe gets fevered sonic color from the filtered bounce of 8-bit leads, acid house, and shifts of dizzy, spliced percussion that awaken catatonic senses. Despite the lists of genres navigated and dark corners illuminated, there's cohesiveness to Retrograde Space Opera, as it launches a period of consistent artistic output.

"I hate how some labels have been around for just two years and are on their 50th release; the signal-to-noise ratio is way too high because they're pushing just to get their logo, their brand, out faster," Rathbun says. "I'm just going to be releasing three to four albums a year, and I'm going to work those hard, really nail it home."

Anarchostar takes as inspiration labels such as London's Hyperdub, a decade-old outlet for dubstep, grime, UK funky, future R&B, and footwork artists that have a balanced regiment of left-field releases. The common thread: A governance of bass, space, and quality. With Retrograde Space Opera as a template, Rathbun will champion sounds that range from dub-swallowed floor-fillers to tropical space music, but share a greater quadrant of fluid expression.



More By This Writer

array(82) {
  ["title"]=>
  string(14) "Pain is a gift"
  ["modification_date"]=>
  string(25) "2018-02-27T21:34:46+00:00"
  ["creation_date"]=>
  string(25) "2018-01-30T15:08:06+00:00"
  ["contributors"]=>
  array(2) {
    [0]=>
    string(29) "ben.eason@creativeloafing.com"
    [1]=>
    string(32) "chad.radford@creativeloafing.com"
  }
  ["date"]=>
  string(25) "2017-11-13T23:13:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["tracker_field_contentTitle"]=>
  string(14) "Pain is a gift"
  ["tracker_field_contentByline"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentByline_exact"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentBylinePerson"]=>
  string(8) "13092584"
  ["tracker_field_description"]=>
  string(55) "Cloak transcends black metal chaos with occult ambiance"
  ["tracker_field_description_raw"]=>
  string(55) "Cloak transcends black metal chaos with occult ambiance"
  ["tracker_field_contentDate"]=>
  string(25) "2017-11-13T23:13:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(24) "Content:_:Pain is a gift"
  ["tracker_field_contentWikiPage_text"]=>
  string(2) " "
  ["tracker_field_contentWikiPage_raw"]=>
  string(4325) "{HTML()}



Darkness can be a liberating palette in the right hands.

Splayed across a canvas of tension, Atlanta quartet Cloak's debut album, To Venomous Depths, offers a study in saturated contrast and occult ambiance that acknowledges both the art and aesthetic of the sinister. 

Commanding swaths of primary dynamics and malevolent angles, Cloak grapples with what comes before and beyond life, with death and the rebirth of self, and how to differentiate an artistic project in and from the continuum of black metal.

Guitarist and vocalist Scott Taysom and drummer Sean Bruneau first started going over ideas for an extreme metal band in early 2013. They met guitarist Max Brigham later that year, and got down to jamming.

This earliest incarnation of Cloak leaned more toward the red-aura aggression of death metal. Bassist Matt Scott, for instance, clawed his way out of the crypt through shows at the P.S. Warehouse and 529, sharing the stage with Mangled, Sadistic Ritual, and other gory thrash gods as part of the band Living Decay.

This version of Cloak, however, didn't survive a year-long hiatus, and when the band reactivated in 2015, it tempered brutal technicality with more epic harmonics, unafraid to embrace both the chilling melodies of bands such as Sweden's Dissection and the mid-pace hooks of Deep Purple and Danzig.

The objective was to "gain power through simplicity, repetition, strong choruses something bands in the death metal genre typically don't do well a lot of the time," says Taysom by phone, taking a break from preparations for the band's record release show. "To me, there's a difference between songwriting and riff writing, and you can write as many great riffs as you want, but unless you know how to write transitions between them, a song isn't going to flow well.

Developing alongside, and yet disconnected from, the chaotic transcendence of the black metal scene anchored by bands like HellGoat and Vimur Cloak worked to hone a coherent style introspectively.

"I respect that every leader of those packs of bands is doing something different, but so is Cloak, and I think we just work better when we keep to ourselves," says Taysom. "I know what I wrote for this record was done in a secluded state, physically and mentally.

"I think pain is a gift, if you view it the right way, and change is, too," Taysom adds. "I went through a lot, a darker time, and I learned to welcome change with open arms. This isn't a concept album, but it's definitely a journey, a spiritual ascension of sorts."

What Cloak has done with To Venomous Depths, released through respected French indie label Season of Mist, following an EP on local imprint Boris Records, is a collection of nine surging, incisive tracks that look past the barriers of genre as readily as they do the shackles of mortality. Similar to the embrace of psych and prog rock by Sweden's Tribulation, or the ability to recall Thin Lizzy, Fucked Up, and Viking metal as done by Norway's Kvelertak, Cloak bolsters tremolo frenzies with power chord swagger as binding as any incantation.

Recorded with Joey Jones at Aria Studio in Marietta, To Venomous Depths maintains an open, relatively uncompressed production with boomy drums, destructive bass, distorted but articulated guitars, and caustic yet discernible vocals. Thinking toward future recordings, Taysom sees Cloak as a platform to incorporate whatever comes naturally whether that be a Doors-esque intro or a blast beat.

Similarly, he sees the band's shows as an opportunity to create an immersive communion, a chance to use everything from the fliers to the stage dressing to the edge of the other bands on the bill to liberate believers among the elongated shadows.

With Dropout, Ectovoid, and All Hell. $10. 8 p.m. Sat., Nov. 18. The Earl, 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.

{HTML} " ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2018-02-12T23:05:42+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2018-03-22T17:18:52+00:00" ["tracker_field_photos"]=> string(4) "3059" ["tracker_field_contentPhotoCredit"]=> string(12) "David Parham" ["tracker_field_contentPhotoTitle"]=> string(5) "CLOAK" ["tracker_field_contentCategory"]=> array(2) { [0]=> string(3) "243" [1]=> string(3) "675" } ["tracker_field_contentCategory_text"]=> string(7) "243 675" ["tracker_field_contentControlCategory"]=> array(0) { } ["tracker_field_scene"]=> array(1) { [0]=> string(3) "565" } ["tracker_field_scene_text"]=> string(3) "565" ["tracker_field_contentNeighborhood"]=> array(0) { } ["tracker_field_contentRelations_multi"]=> array(1) { [0]=> string(0) "" } ["tracker_field_contentRelatedContent_multi"]=> array(1) { [0]=> string(0) "" } ["tracker_field_contentRelatedWikiPages_multi"]=> array(1) { [0]=> string(0) "" } ["tracker_field_contentBASEContentID"]=> string(8) "20982606" ["tracker_field_contentBASEAuthorID"]=> int(0) ["tracker_field_section"]=> array(0) { } ["language"]=> string(7) "unknown" ["attachments"]=> array(1) { [0]=> string(4) "3059" } ["comment_count"]=> int(0) ["categories"]=> array(3) { [0]=> int(243) [1]=> int(565) [2]=> int(675) } ["deep_categories"]=> array(5) { [0]=> int(242) [1]=> int(243) [2]=> int(564) [3]=> int(565) [4]=> int(675) } ["categories_under_28"]=> array(0) { } ["deep_categories_under_28"]=> array(0) { } ["categories_under_1"]=> array(0) { } ["deep_categories_under_1"]=> array(0) { } ["categories_under_177"]=> array(0) { } ["deep_categories_under_177"]=> array(0) { } ["categories_under_209"]=> array(0) { } ["deep_categories_under_209"]=> array(0) { } ["categories_under_163"]=> array(0) { } ["deep_categories_under_163"]=> array(0) { } ["categories_under_171"]=> array(0) { } ["deep_categories_under_171"]=> array(0) { } ["categories_under_153"]=> array(0) { } ["deep_categories_under_153"]=> array(0) { } ["categories_under_242"]=> array(1) { [0]=> int(243) } ["deep_categories_under_242"]=> array(2) { [0]=> int(243) [1]=> int(675) } ["categories_under_564"]=> array(1) { [0]=> int(565) } ["deep_categories_under_564"]=> array(1) { [0]=> int(565) } ["categories_under_1182"]=> array(0) { } ["deep_categories_under_1182"]=> array(0) { } ["freetags"]=> array(0) { } ["geo_located"]=> string(1) "n" ["allowed_groups"]=> array(2) { [0]=> string(6) "Admins" [1]=> string(9) "Anonymous" } ["allowed_users"]=> array(0) { } ["relations"]=> array(2) { [0]=> string(26) "tiki.file.attach:file:3059" [1]=> string(47) "group.related.content.invert:trackeritem:406292" } ["relation_objects"]=> array(0) { } ["relation_types"]=> array(2) { [0]=> string(16) "tiki.file.attach" [1]=> string(28) "group.related.content.invert" } ["relation_count"]=> array(2) { [0]=> string(18) "tiki.file.attach:1" [1]=> string(30) "group.related.content.invert:1" } ["title_initial"]=> string(1) "P" ["title_firstword"]=> string(4) "Pain" ["searchable"]=> string(1) "y" ["url"]=> string(10) "item266404" ["object_type"]=> string(11) "trackeritem" ["object_id"]=> string(6) "266404" ["contents"]=> string(317) " StudioColor DavidParham (2) 2018-02-27T21:11:03+00:00 StudioColor_DavidParham (2).jpg Cloak transcends black metal chaos with occult ambiance 3059 2017-11-13T23:13:00+00:00 Pain is a gift Tony Ware 2017-11-13T23:13:00+00:00   David Parham CLOAK 20982606 Pain is a gift " ["score"]=> float(0) ["_index"]=> string(21) "atlantawiki_tiki_main" ["objectlink"]=> string(196) "Pain is a gift" ["photos"]=> string(148) "StudioColor DavidParham (2) " ["desc"]=> string(64) "Cloak transcends black metal chaos with occult ambiance" ["eventDate"]=> string(64) "Cloak transcends black metal chaos with occult ambiance" ["noads"]=> string(10) "y" }

Article

Monday November 13, 2017 06:13 pm EST
Cloak transcends black metal chaos with occult ambiance | more...
array(82) {
  ["title"]=>
  string(19) "The gospel of disco"
  ["modification_date"]=>
  string(25) "2018-06-13T01:00:53+00:00"
  ["creation_date"]=>
  string(25) "2018-01-30T15:08:06+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(29) "ben.eason@creativeloafing.com"
  }
  ["date"]=>
  string(25) "2017-07-14T23:11:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["tracker_field_contentTitle"]=>
  string(19) "The gospel of disco"
  ["tracker_field_contentCreator"]=>
  string(28) "clint@thenetworkedplanet.com"
  ["tracker_field_contentCreator_text"]=>
  string(12) "Clint Bergst"
  ["tracker_field_contentByline"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentByline_exact"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentBylinePerson"]=>
  string(8) "13092584"
  ["tracker_field_description"]=>
  string(56) "Nicky Siano ruminates a legacy of dance floor innovation"
  ["tracker_field_description_raw"]=>
  string(56) "Nicky Siano ruminates a legacy of dance floor innovation"
  ["tracker_field_contentDate"]=>
  string(25) "2017-07-14T23:11:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(29) "Content:_:The gospel of disco"
  ["tracker_field_contentWikiPage_text"]=>
  string(4847) "Disco, to so many people, begins with Donna Summer and ends at Studio 54: velvet ropes and white lines, a neon-drenched Bacchanalia writhing in an air of exclusiveness with real and self-realized celebrities able to gain entry. But for Nicky Siano New York nightclub pioneer, and disco sire the music deserves to be remembered as inclusive, not exclusive.

"When I started, there was no disco; it was just called R&B," says Siano, speaking by phone from the city he's called home since he was born in Brooklyn in 1955. "Then we had to call it dance music, because we incorporated soul, rock and jazz records. You'd have a record like 'City, Country, City' by War, or 'Love is the Message' by MFSB that just went from one groove to another to another, building and building and building, and it would create this atmosphere where everyone was in the moment together for every second of the song, just waiting to see where the vibrations in the room would have us go next."

What Siano was doing could just as well have been called punk, because DIY was the name of the proto-disco game. Inspired at the age of 16 by the synchronicity of sound, light and love he experienced at one of David Mancuso's legendary Loft parties, Siano went from playing 45s at friends' parties to DJing at a club called the Round Table in 1971. It wasn't even a year later, however, when he and his brother Joey took $10,000 and custom-built a club called the Gallery in a desolate part of Lower Manhattan.

The people who found their way into Siano's blend, drawn from the ether by singular tracks and innovative presentation, were as eccentric and funky as the best records. Like Kool Herc would do for hip-hop, introducing a mixer to isolate and elongate the instrumental break, Siano was changing the game for dance music by incorporating beat-matching, EQing, an Alex Rosner sound system boasting profound sub bass and feverish highs a beat machine as accompaniment, plus a third turntable to heighten the drama of his surging fills.

"The third turntable, that was a dream," says Siano. "I mean, I had an actual dream where two records were mixing back and forth with a sound effect being played over them, so when I woke up, I grabbed a turntable and took it down to the Gallery and made it happen that night. All of a sudden, every club had a third turntable sitting there gathering dust, but mine was constantly running with different effects albums on it."

Siano's impact extended beyond the walls of the Gallery as he began producing with avant-disco composer Arthur Russell and anointed such legendary post-disco, foundational house music personalities as Larry Levan and Frankie Knuckles by giving them an early outlet and learning annex. However, excess didn't completely escape him.

Drugs, naturally, played their part in the scene and Siano's own storyline. In part because of Siano's growing addictions, the Gallery would be forced to close in the late '70s, leaving Siano to DJ at other clubs, including the iconic Studio 54 for several months, before taking a lengthy hiatus during which he got clean and did social work for HIV patients.

Returning to the clubs in late 1996, Siano is now 20 years into his second act and at a point where connecting with a higher part of yourself means something spiritual, not pharmaceutical. "I used to say 'love is the message' was my main theme, but the core thing is possibility," he says. "Sometimes you may feel stuck, but you're only stuck in your own mind. If you can step out of your thoughts for a minute, you'll realize the possibilities. That's what the right balance of music, light, people and energy in a room can tap into: hope."

At 62, Siano can get cranky when asked about modern dance music culture, quick to go on a diatribe about producers he feels can be short of original ideas, musicality, message and the ability to craft atmosphere. But even as he lambasts an over-reliance on homogenous technology, he simultaneously praises the UK's Northern Soul scene for echoing his mission of inspiring those seeking meaningful body movers through what he describes as "obscure, interesting records that were almost hits back then but are nowhere today."

Siano says he doesn't remember the last time he played a standard fare Donna Summer track, but he's still touched by gospel soul.

"When I first heard 'Rain' by Dorothy Morrison, it drove me nuts and changed my life," Siano says. "I went from store to store across New York, and I couldn't find it for almost seven days. But I finally did, and it made me realize I could find whatever I was searching for, if I just didn't give up.'

ATL Dance Session featuring Nicky Siano Q&A and DJ set with DJ Kemit. $10-$15. 8:30 p.m. Fri., July 21. The Music Room, 327 Edgewood Ave. S.E., 404-343-0111. www.boomboxatl.com."
  ["tracker_field_contentWikiPage_raw"]=>
  string(4994) "Disco, to so many people, begins with Donna Summer and ends at Studio 54: velvet ropes and white lines, a neon-drenched Bacchanalia writhing in an air of exclusiveness with real and self-realized celebrities able to gain entry. But for [http://www.nickysiano.com/|Nicky Siano] New York nightclub pioneer, and disco sire the music deserves to be remembered as inclusive, not exclusive.

"When I started, there was no disco; it was just called R&B," says Siano, speaking by phone from the city he's called home since he was born in Brooklyn in 1955. "Then we had to call it dance music, because we incorporated soul, rock and jazz records. You'd have a record like 'City, Country, City' by War, or 'Love is the Message' by MFSB that just went from one groove to another to another, building and building and building, and it would create this atmosphere where everyone was in the moment together for every second of the song, just waiting to see where the vibrations in the room would have us go next."

What Siano was doing could just as well have been called punk, because DIY was the name of the proto-disco game. Inspired at the age of 16 by the synchronicity of sound, light and love he experienced at one of David Mancuso's legendary Loft parties, Siano went from playing 45s at friends' parties to DJing at a club called the Round Table in 1971. It wasn't even a year later, however, when he and his brother Joey took $10,000 and custom-built a club called the Gallery in a desolate part of Lower Manhattan.

The people who found their way into Siano's blend, drawn from the ether by singular tracks and innovative presentation, were as eccentric and funky as the best records. Like Kool Herc would do for hip-hop, introducing a mixer to isolate and elongate the instrumental break, Siano was changing the game for dance music by incorporating beat-matching, EQing, an Alex Rosner sound system boasting profound sub bass and feverish highs a beat machine as accompaniment, plus a third turntable to heighten the drama of his surging fills.

"The third turntable, that was a dream," says Siano. "I mean, I had an actual dream where two records were mixing back and forth with a sound effect being played over them, so when I woke up, I grabbed a turntable and took it down to the Gallery and made it happen that night. All of a sudden, every club had a third turntable sitting there gathering dust, but mine was constantly running with different effects albums on it."

Siano's impact extended beyond the walls of the Gallery as he began producing with avant-disco composer Arthur Russell and anointed such legendary post-disco, foundational house music personalities as Larry Levan and Frankie Knuckles by giving them an early outlet and learning annex. However, excess didn't completely escape him.

Drugs, naturally, played their part in the scene and Siano's own storyline. In part because of Siano's growing addictions, the Gallery would be forced to close in the late '70s, leaving Siano to DJ at other clubs, including the iconic Studio 54 for several months, before taking a lengthy hiatus during which he got clean and did social work for HIV patients.

Returning to the clubs in late 1996, Siano is now 20 years into his second act and at a point where connecting with a higher part of yourself means something spiritual, not pharmaceutical. "I used to say 'love is the message' was my main theme, but the core thing is possibility," he says. "Sometimes you may feel stuck, but you're only stuck in your own mind. If you can step out of your thoughts for a minute, you'll realize the possibilities. That's what the right balance of music, light, people and energy in a room can tap into: hope."

At 62, Siano can get cranky when asked about modern dance music culture, quick to go on a diatribe about producers he feels can be short of original ideas, musicality, message and the ability to craft atmosphere. But even as he lambasts an over-reliance on homogenous technology, he simultaneously praises the UK's Northern Soul scene for echoing his mission of inspiring those seeking meaningful body movers through what he describes as "obscure, interesting records that were almost hits back then but are nowhere today."

Siano says he doesn't remember the last time he played a standard fare Donna Summer track, but he's still touched by gospel soul.

"When I first heard 'Rain' by Dorothy Morrison, it drove me nuts and changed my life," Siano says. "I went from store to store across New York, and I couldn't find it for almost seven days. But I finally did, and it made me realize I could find whatever I was searching for, if I just didn't give up.'

''[http://local.creativeloafing.com/event/the-music-room/atl-dance-session-ft-nicky-siano-q-and-a-and-dj-set-with-dj-kemit|ATL Dance Session featuring Nicky Siano Q&A and DJ set with DJ Kemit. $10-$15. 8:30 p.m. Fri., July 21. The Music Room, 327 Edgewood Ave. S.E., 404-343-0111. www.boomboxatl.com.]''"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2018-02-17T22:15:28+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-05-09T23:07:01+00:00"
  ["tracker_field_photos"]=>
  string(4) "5357"
  ["tracker_field_contentPhotoCredit"]=>
  string(20) "Courtesy Nicky Siano"
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "675"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "675"
  ["tracker_field_contentControlCategory"]=>
  array(0) {
  }
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentBASEContentID"]=>
  string(8) "20867653"
  ["tracker_field_contentBASEAuthorID"]=>
  int(0)
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(1) {
    [0]=>
    string(4) "5357"
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(1) {
    [0]=>
    int(675)
  }
  ["deep_categories"]=>
  array(3) {
    [0]=>
    int(242)
    [1]=>
    int(243)
    [2]=>
    int(675)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(0) {
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(2) {
    [0]=>
    int(243)
    [1]=>
    int(675)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(1) {
    [0]=>
    string(28) "clint@thenetworkedplanet.com"
  }
  ["relations"]=>
  array(1) {
    [0]=>
    string(26) "tiki.file.attach:file:5357"
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(1) {
    [0]=>
    string(16) "tiki.file.attach"
  }
  ["relation_count"]=>
  array(1) {
    [0]=>
    string(18) "tiki.file.attach:1"
  }
  ["title_initial"]=>
  string(1) "T"
  ["title_firstword"]=>
  string(3) "The"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item266429"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "266429"
  ["contents"]=>
  string(5172) " Disco  2018-05-09T17:13:51+00:00 Disco.png     Nicky Siano ruminates a legacy of dance floor innovation 5357  2017-07-14T23:11:00+00:00 The gospel of disco clint@thenetworkedplanet.com Clint Bergst Tony Ware  2017-07-14T23:11:00+00:00  Disco, to so many people, begins with Donna Summer and ends at Studio 54: velvet ropes and white lines, a neon-drenched Bacchanalia writhing in an air of exclusiveness with real and self-realized celebrities able to gain entry. But for Nicky Siano New York nightclub pioneer, and disco sire the music deserves to be remembered as inclusive, not exclusive.

"When I started, there was no disco; it was just called R&B," says Siano, speaking by phone from the city he's called home since he was born in Brooklyn in 1955. "Then we had to call it dance music, because we incorporated soul, rock and jazz records. You'd have a record like 'City, Country, City' by War, or 'Love is the Message' by MFSB that just went from one groove to another to another, building and building and building, and it would create this atmosphere where everyone was in the moment together for every second of the song, just waiting to see where the vibrations in the room would have us go next."

What Siano was doing could just as well have been called punk, because DIY was the name of the proto-disco game. Inspired at the age of 16 by the synchronicity of sound, light and love he experienced at one of David Mancuso's legendary Loft parties, Siano went from playing 45s at friends' parties to DJing at a club called the Round Table in 1971. It wasn't even a year later, however, when he and his brother Joey took $10,000 and custom-built a club called the Gallery in a desolate part of Lower Manhattan.

The people who found their way into Siano's blend, drawn from the ether by singular tracks and innovative presentation, were as eccentric and funky as the best records. Like Kool Herc would do for hip-hop, introducing a mixer to isolate and elongate the instrumental break, Siano was changing the game for dance music by incorporating beat-matching, EQing, an Alex Rosner sound system boasting profound sub bass and feverish highs a beat machine as accompaniment, plus a third turntable to heighten the drama of his surging fills.

"The third turntable, that was a dream," says Siano. "I mean, I had an actual dream where two records were mixing back and forth with a sound effect being played over them, so when I woke up, I grabbed a turntable and took it down to the Gallery and made it happen that night. All of a sudden, every club had a third turntable sitting there gathering dust, but mine was constantly running with different effects albums on it."

Siano's impact extended beyond the walls of the Gallery as he began producing with avant-disco composer Arthur Russell and anointed such legendary post-disco, foundational house music personalities as Larry Levan and Frankie Knuckles by giving them an early outlet and learning annex. However, excess didn't completely escape him.

Drugs, naturally, played their part in the scene and Siano's own storyline. In part because of Siano's growing addictions, the Gallery would be forced to close in the late '70s, leaving Siano to DJ at other clubs, including the iconic Studio 54 for several months, before taking a lengthy hiatus during which he got clean and did social work for HIV patients.

Returning to the clubs in late 1996, Siano is now 20 years into his second act and at a point where connecting with a higher part of yourself means something spiritual, not pharmaceutical. "I used to say 'love is the message' was my main theme, but the core thing is possibility," he says. "Sometimes you may feel stuck, but you're only stuck in your own mind. If you can step out of your thoughts for a minute, you'll realize the possibilities. That's what the right balance of music, light, people and energy in a room can tap into: hope."

At 62, Siano can get cranky when asked about modern dance music culture, quick to go on a diatribe about producers he feels can be short of original ideas, musicality, message and the ability to craft atmosphere. But even as he lambasts an over-reliance on homogenous technology, he simultaneously praises the UK's Northern Soul scene for echoing his mission of inspiring those seeking meaningful body movers through what he describes as "obscure, interesting records that were almost hits back then but are nowhere today."

Siano says he doesn't remember the last time he played a standard fare Donna Summer track, but he's still touched by gospel soul.

"When I first heard 'Rain' by Dorothy Morrison, it drove me nuts and changed my life," Siano says. "I went from store to store across New York, and I couldn't find it for almost seven days. But I finally did, and it made me realize I could find whatever I was searching for, if I just didn't give up.'

ATL Dance Session featuring Nicky Siano Q&A and DJ set with DJ Kemit. $10-$15. 8:30 p.m. Fri., July 21. The Music Room, 327 Edgewood Ave. S.E., 404-343-0111. www.boomboxatl.com.    Courtesy Nicky Siano         20867653                           The gospel of disco "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(21) "atlantawiki_tiki_main"
  ["objectlink"]=>
  string(201) "The gospel of disco"
  ["photos"]=>
  string(126) "Disco

"
  ["desc"]=>
  string(65) "Nicky Siano ruminates a legacy of dance floor innovation"
  ["eventDate"]=>
  string(65) "Nicky Siano ruminates a legacy of dance floor innovation"
  ["noads"]=>
  string(10) "y"
}

Article

Friday July 14, 2017 07:11 pm EDT
Nicky Siano ruminates a legacy of dance floor innovation | more...
array(84) {
  ["title"]=>
  string(57) "Abra crafts electro-R&B for urban voyeurs with 'Princess'"
  ["modification_date"]=>
  string(25) "2018-02-18T19:25:01+00:00"
  ["creation_date"]=>
  string(25) "2017-10-23T23:52:57+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(29) "ben.eason@creativeloafing.com"
  }
  ["date"]=>
  string(25) "2016-07-12T15:39:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["tracker_field_contentTitle"]=>
  string(57) "Abra crafts electro-R&B for urban voyeurs with 'Princess'"
  ["tracker_field_contentByline"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentByline_exact"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144561"
  ["tracker_field_contentBylinePerson_text"]=>
  string(7) "1223520"
  ["tracker_field_description"]=>
  string(211) "Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs."
  ["tracker_field_description_raw"]=>
  string(211) "Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs."
  ["tracker_field_contentDate"]=>
  string(25) "2016-07-12T15:39:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(67) "Content:_:Abra crafts electro-R B for urban voyeurs with 'Princess'"
  ["tracker_field_contentWikiPage_text"]=>
  string(1022) "image-1
  ??
 The narrative of singer-producer ABRA follows an adolescent outsider transplanted from South London to suburban Atlanta, writing lo-fi low-end poetry for years till she breaks wide within Awful Records’ sympathetic collective. It’s a DIY story set to a bedroom-studio beat. Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs. Abra’s latest six track release, Princess (True Panther Sounds), draws dynamic structure and anatomical precision from the I-95 808-led robofunk of Upper Manhattan down to Miami-Dade. It’s a freestyle, distorted bounce building on the wobbly, modulated synths of Britney’s Blackout and compressed, gated compurhythms of the ’80s, but then detouring through spectral, cathartic melodies. ★★★☆☆

Abra plays the Masquerade (Purgatory) on Thurs., July 28. $12. 8 p.m. 695 North Ave. 404-577-8178. www.masq.com.
"
  ["tracker_field_contentWikiPage_raw"]=>
  string(1117) "[image-1]
  ??
 The narrative of singer-producer ABRA follows an adolescent outsider transplanted from South London to suburban Atlanta, writing lo-fi low-end poetry for years till she breaks wide within [http://awfulrecords.com/|Awful Records]’ sympathetic collective. It’s a DIY story set to a bedroom-studio beat. Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs. Abra’s latest six track release, ''Princess'' (True Panther Sounds), draws dynamic structure and anatomical precision from the I-95 808-led robofunk of Upper Manhattan down to Miami-Dade. It’s a freestyle, distorted bounce building on the wobbly, modulated synths of Britney’s Blackout and compressed, gated compurhythms of the ’80s, but then detouring through spectral, cathartic melodies. ★★★☆☆

''[/atlanta/abra/Event?oid=17355653|Abra plays the Masquerade (Purgatory) on Thurs., July 28. $12. 8 p.m. 695 North Ave. 404-577-8178. [http://www.masq.com.|www.masq.com.]]''
"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2017-10-23T23:52:57+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-02-18T19:10:32+00:00"
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "521"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "521"
  ["tracker_field_contentControlCategory"]=>
  array(1) {
    [0]=>
    string(3) "521"
  }
  ["tracker_field_contentControlCategory_text"]=>
  string(3) "521"
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13087873"
  ["tracker_field_contentLegacyContentID"]=>
  string(8) "17442297"
  ["tracker_field_contentBASEAuthorID"]=>
  int(0)
  ["tracker_field_contentLegacyURL1"]=>
  string(46) "/mediaserver/atlanta/2016-28/abra_princess.jpg"
  ["tracker_field_contentLegacyURL1PhotoCredit"]=>
  string(18) "True Panther Sound"
  ["tracker_field_contentLegacyURL1PhotoCaption"]=>
  string(14) "ABRA: PRINCESS"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(1) {
    [0]=>
    int(521)
  }
  ["deep_categories"]=>
  array(3) {
    [0]=>
    int(242)
    [1]=>
    int(243)
    [2]=>
    int(521)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(0) {
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(2) {
    [0]=>
    int(243)
    [1]=>
    int(521)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(1) {
    [0]=>
    string(105) "tiki.wiki.linkeditem.invert:wiki page:Content:_:Abra crafts electro-R B for urban voyeurs with 'Princess'"
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(1) {
    [0]=>
    string(27) "tiki.wiki.linkeditem.invert"
  }
  ["relation_count"]=>
  array(1) {
    [0]=>
    string(29) "tiki.wiki.linkeditem.invert:1"
  }
  ["title_initial"]=>
  string(1) "A"
  ["title_firstword"]=>
  string(4) "Abra"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item149308"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "149308"
  ["contents"]=>
  string(1563) "    Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs.   2016-07-12T15:39:00+00:00 Abra crafts electro-R&B for urban voyeurs with 'Princess'   Tony Ware 1223520 2016-07-12T15:39:00+00:00  image-1
  ??
 The narrative of singer-producer ABRA follows an adolescent outsider transplanted from South London to suburban Atlanta, writing lo-fi low-end poetry for years till she breaks wide within Awful Records’ sympathetic collective. It’s a DIY story set to a bedroom-studio beat. Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs. Abra’s latest six track release, Princess (True Panther Sounds), draws dynamic structure and anatomical precision from the I-95 808-led robofunk of Upper Manhattan down to Miami-Dade. It’s a freestyle, distorted bounce building on the wobbly, modulated synths of Britney’s Blackout and compressed, gated compurhythms of the ’80s, but then detouring through spectral, cathartic melodies. ★★★☆☆

Abra plays the Masquerade (Purgatory) on Thurs., July 28. $12. 8 p.m. 695 North Ave. 404-577-8178. www.masq.com.
             13087873 17442297        /mediaserver/atlanta/2016-28/abra_princess.jpg True Panther Sound ABRA: PRINCESS                Abra crafts electro-R&B for urban voyeurs with 'Princess' "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(21) "atlantawiki_tiki_main"
  ["objectlink"]=>
  string(253) "Abra crafts electro-R&B for urban voyeurs with 'Princess'"
  ["photos"]=>
  string(130) "Coming Soon

"
  ["desc"]=>
  string(220) "Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs."
  ["eventDate"]=>
  string(220) "Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs."
  ["noads"]=>
  string(10) "y"
}

Article

Tuesday July 12, 2016 11:39 am EDT
Pretend darkwave didn’t already signify a decades-old post-punk subculture and this self-proclaimed Darkwave Duchess could convince you it’s grimy Eastern Seaboard electro for erotic-urban voyeurs. | more...
array(82) {
  ["title"]=>
  string(54) "Withered returns with the genre-melding  'Grief Relic'"
  ["modification_date"]=>
  string(25) "2018-02-19T23:11:38+00:00"
  ["creation_date"]=>
  string(25) "2017-10-24T10:34:45+00:00"
  ["contributors"]=>
  array(2) {
    [0]=>
    string(29) "ben.eason@creativeloafing.com"
    [1]=>
    string(5) "admin"
  }
  ["date"]=>
  string(25) "2016-05-20T21:18:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["tracker_field_contentTitle"]=>
  string(54) "Withered returns with the genre-melding  'Grief Relic'"
  ["tracker_field_contentByline"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentByline_exact"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144561"
  ["tracker_field_contentBylinePerson_text"]=>
  string(7) "1223520"
  ["tracker_field_description"]=>
  string(162) "Mike Thompson, Beau Brandon, Colin Marston, and Ethan McCarthy thread masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs."
  ["tracker_field_description_raw"]=>
  string(162) "Mike Thompson, Beau Brandon, Colin Marston, and Ethan McCarthy thread masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs."
  ["tracker_field_contentDate"]=>
  string(25) "2016-05-20T21:18:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(64) "Content:_:Withered returns with the genre-melding  'Grief Relic'"
  ["tracker_field_contentWikiPage_text"]=>
  string(957) "image-1 
    Grief Relic (out May 27 via Season of Mist), the first album in six years from death-doom metal veterans Withered, opens with a low-pitched choke of breath before 40 minutes of gnashing, asphyxiating savagery.  The quartet — Atlanta natives Mike Thompson (guitar-vocals) and Beau Brandon (drums), augmented by bass player Colin Marston (of Gorguts/Krallice), and vocalist-guitarist Ethan McCarthy (from Primitive Man) — threads masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs. The melodic, albeit barbed hooks of 2010’s Dualitas have ceded to blackened, sodden, and brutish discord, but even at its most gutting lurch Grief Relic's intricate arrangements offer gasps of chiming consolation. The album doesn't dredge anything unrecognizable from the death-doom sludge, but it's a seamless, scorched effort of manic catharsis from an evolving, technically gifted band.  ★★★★☆
 
      
"
  ["tracker_field_contentWikiPage_raw"]=>
  string(1051) "[image-1] 
    ''Grief Relic ''(out May 27 via Season of Mist), the first album in six years from death-doom metal veterans [https://withered.bandcamp.com/|Withered], opens with a low-pitched choke of breath before 40 minutes of gnashing, asphyxiating savagery.  The quartet — Atlanta natives Mike Thompson (guitar-vocals) and Beau Brandon (drums), augmented by bass player Colin Marston (of Gorguts/Krallice), and vocalist-guitarist Ethan McCarthy (from Primitive Man) — threads masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs. The melodic, albeit barbed hooks of 2010’s ''[https://withered.bandcamp.com/album/dualitas|Dualitas]'' have ceded to blackened, sodden, and brutish discord, but even at its most gutting lurch ''Grief Relic'''s intricate arrangements offer gasps of chiming consolation. The album doesn't dredge anything unrecognizable from the death-doom sludge, but it's a seamless, scorched effort of manic catharsis from an evolving, technically gifted band.  ★★★★☆
 
      
"
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2017-10-24T10:34:45+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2018-02-19T23:11:38+00:00"
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "521"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "521"
  ["tracker_field_contentControlCategory"]=>
  array(1) {
    [0]=>
    string(3) "521"
  }
  ["tracker_field_contentControlCategory_text"]=>
  string(3) "521"
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13087393"
  ["tracker_field_contentLegacyContentID"]=>
  string(8) "17231026"
  ["tracker_field_contentBASEAuthorID"]=>
  int(0)
  ["tracker_field_contentLegacyURL1"]=>
  string(49) "/mediaserver/atlanta/2016-20/witheredfgrief-2.jpg"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(1) {
    [0]=>
    int(521)
  }
  ["deep_categories"]=>
  array(3) {
    [0]=>
    int(242)
    [1]=>
    int(243)
    [2]=>
    int(521)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(0) {
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(2) {
    [0]=>
    int(243)
    [1]=>
    int(521)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(1) {
    [0]=>
    string(102) "tiki.wiki.linkeditem.invert:wiki page:Content:_:Withered returns with the genre-melding  'Grief Relic'"
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(1) {
    [0]=>
    string(27) "tiki.wiki.linkeditem.invert"
  }
  ["relation_count"]=>
  array(1) {
    [0]=>
    string(29) "tiki.wiki.linkeditem.invert:1"
  }
  ["title_initial"]=>
  string(1) "W"
  ["title_firstword"]=>
  string(8) "Withered"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item149679"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "149679"
  ["contents"]=>
  string(1414) "    Mike Thompson, Beau Brandon, Colin Marston, and Ethan McCarthy thread masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs.   2016-05-20T21:18:00+00:00 Withered returns with the genre-melding  'Grief Relic'   Tony Ware 1223520 2016-05-20T21:18:00+00:00  image-1 
    Grief Relic (out May 27 via Season of Mist), the first album in six years from death-doom metal veterans Withered, opens with a low-pitched choke of breath before 40 minutes of gnashing, asphyxiating savagery.  The quartet — Atlanta natives Mike Thompson (guitar-vocals) and Beau Brandon (drums), augmented by bass player Colin Marston (of Gorguts/Krallice), and vocalist-guitarist Ethan McCarthy (from Primitive Man) — threads masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs. The melodic, albeit barbed hooks of 2010’s Dualitas have ceded to blackened, sodden, and brutish discord, but even at its most gutting lurch Grief Relic's intricate arrangements offer gasps of chiming consolation. The album doesn't dredge anything unrecognizable from the death-doom sludge, but it's a seamless, scorched effort of manic catharsis from an evolving, technically gifted band.  ★★★★☆
 
      
             13087393 17231026        /mediaserver/atlanta/2016-20/witheredfgrief-2.jpg                  Withered returns with the genre-melding  'Grief Relic' "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(21) "atlantawiki_tiki_main"
  ["objectlink"]=>
  string(246) "Withered returns with the genre-melding  'Grief Relic'"
  ["photos"]=>
  string(130) "Coming Soon

"
  ["desc"]=>
  string(171) "Mike Thompson, Beau Brandon, Colin Marston, and Ethan McCarthy thread masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs."
  ["eventDate"]=>
  string(171) "Mike Thompson, Beau Brandon, Colin Marston, and Ethan McCarthy thread masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs."
  ["noads"]=>
  string(10) "y"
}

Article

Friday May 20, 2016 05:18 pm EDT
Mike Thompson, Beau Brandon, Colin Marston, and Ethan McCarthy thread masochistic tremolo picking into blast-beat drumming and prog-tinged, dread-thickened riffs. | more...
array(83) {
  ["title"]=>
  string(29) "Evol Intent back on the radar"
  ["modification_date"]=>
  string(25) "2018-03-06T02:43:16+00:00"
  ["creation_date"]=>
  string(25) "2017-10-24T10:48:52+00:00"
  ["contributors"]=>
  array(1) {
    [0]=>
    string(29) "ben.eason@creativeloafing.com"
  }
  ["date"]=>
  string(25) "2015-01-12T15:09:00+00:00"
  ["tracker_status"]=>
  string(1) "o"
  ["tracker_id"]=>
  string(2) "11"
  ["view_permission"]=>
  string(13) "view_trackers"
  ["tracker_field_contentTitle"]=>
  string(29) "Evol Intent back on the radar"
  ["tracker_field_contentByline"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentByline_exact"]=>
  string(9) "Tony Ware"
  ["tracker_field_contentBylinePerson"]=>
  string(6) "144561"
  ["tracker_field_contentBylinePerson_text"]=>
  string(7) "1223520"
  ["tracker_field_description"]=>
  string(64) "Drum and bass trio returns with a new EP titled Under the Radar."
  ["tracker_field_description_raw"]=>
  string(68) "Drum and bass trio returns with a new EP titled ''Under the Radar''."
  ["tracker_field_contentDate"]=>
  string(25) "2015-01-12T15:09:00+00:00"
  ["tracker_field_contentWikiPage"]=>
  string(39) "Content:_:Evol Intent back on the radar"
  ["tracker_field_contentWikiPage_text"]=>
  string(2935) "
*Courtesy of Evol Intent
*


Production/DJ trio Evol Intent has been steppin’ in and out of the ATL for over a decade, dropping neuro smashers, techy gnashers, and heavy drums lacerated with hip-hop shards. If a lot of that sounds like nonsense jargon, you’re obviously not a connoisseur of skullfucking drum ‘n’ bass. 

And that’s okay; some people think cucumbers taste better pickled. But if you are going to catch up on one of electronic music’s more aggressive genres, hit up any major digital store for Evol Intent’s recently released seven-track EP, Under the Radar, and you’ll get a pounding entry into where synapses and subwoofers get shredded.

              jump        
The group — Michael/Gigantor, AJ/Enemy (a.k.a. Treasure Fingers), and Nick/Knick (a.k.a. Bro Safari) — is physically split among L.A., Atlanta, and Austin, and is equally divergent aesthetically, with secondary projects in shoegazer rock, disco house, and trap music. They collaborate, as many now do, by trading project files remotely. Even though they run separate sessions, however, the end result merges layers of surgical precision and low-frequency punishment. 

Despite infusing the EP with sub-Reddit injokes and contorted dystopian sci-fi/horrorcore samples, EVLNTNT (if you’re into that whole brevity thing) does not lack for melody. Under the Radar packs in detuning synths, dissident microedits, ragga twitches, and moments of half-time “drumstep” tempo alongside more introspective swatches. A lot of variety is generated from the distending, submerging, and verbalizing of Xfer Records’ new Serum synth (for which Gigantor programmed patches). 

Gigantor also credits Audeze LCD-XC headphones as one of his key mixdown tools. I tell you this because I have personal experience with this planar-magnetic headphones company, and outside of a club, you haven’t heard low end ripple your scalp as viscerally and decisively. Audeze and EVLNTNT share a few traits: highly resolving soundstages, full-throttle textures, and deep connections to the heavy bass music community. Want more proof tracks you cook up with Audeze could be hot shit? See Gigantor’s star turn here: #mixanywhere. And this endorsement serves as a logical transition to sharing news of EVLNTNT’s remix contest. 

Visit the group’s website and you can download stems from the song “Middle of the Night” to remix. Upload your take on it to Soundcloud by Feb. 1 and you might win your own Audeze LCD-2 Fazor headphones (valued at $995), as well as a copy of Serum or other prizes. Or slap on some camo cargo pants, a black wifebeater, a fresh New Era brim, drop $6.99 on iTunes for Under the Radar and spend a night stomping the yard and chewing your own face off. Evol Intent has also been actively giving away much of the group’s back catalogue on its Soundcloud account, but toss a little change at your “local” artists, bros."
  ["tracker_field_contentWikiPage_raw"]=>
  string(3206) "{img src="https://media2.fdncms.com/atlanta/imager/evol-intent-back-on-the-radar/u/original/13168370/1420825855-undertheradar_artwork_1200.jpg"}
*Courtesy of Evol Intent
*


Production/DJ trio Evol Intent has been steppin’ in and out of the ATL for over a decade, dropping neuro smashers, techy gnashers, and heavy drums lacerated with hip-hop shards. If a lot of that sounds like nonsense jargon, you’re obviously not a connoisseur of skullfucking drum ‘n’ bass. 

And that’s okay; some people think cucumbers taste better pickled. But if you are going to catch up on one of electronic music’s more aggressive genres, hit up any major digital store for Evol Intent’s recently released seven-track EP, ''Under the Radar'', and you’ll get a pounding entry into where synapses and subwoofers get shredded.

              [jump]        
The group — Michael/Gigantor, AJ/Enemy (a.k.a. Treasure Fingers), and Nick/Knick (a.k.a. Bro Safari) — is physically split among L.A., Atlanta, and Austin, and is equally divergent aesthetically, with secondary projects in shoegazer rock, disco house, and trap music. They collaborate, as many now do, by trading project files remotely. Even though they run separate sessions, however, the end result merges layers of surgical precision and low-frequency punishment. 

Despite infusing the EP with sub-Reddit injokes and contorted dystopian sci-fi/horrorcore samples, EVLNTNT (if you’re into that whole brevity thing) does not lack for melody. ''Under the Radar'' packs in detuning synths, dissident microedits, ragga twitches, and moments of half-time “drumstep” tempo alongside more introspective swatches. A lot of variety is generated from the distending, submerging, and verbalizing of Xfer Records’ new Serum synth (for which Gigantor programmed patches). 

Gigantor also credits Audeze LCD-XC headphones as one of his key mixdown tools. I tell you this because I have personal experience with this planar-magnetic headphones company, and outside of a club, you haven’t heard low end ripple your scalp as viscerally and decisively. Audeze and EVLNTNT share a few traits: highly resolving soundstages, full-throttle textures, and deep connections to the heavy bass music community. Want more proof tracks you cook up with Audeze could be hot shit? See Gigantor’s star turn here: [http://instagram.com/p/xLKlJXJaZr/|#mixanywhere]. And this endorsement serves as a logical transition to sharing news of EVLNTNT’s remix contest. 

Visit the group’s website and you can [http://www.evolintent.com/blog/?p=327|download stems] from the song “Middle of the Night” to remix. Upload your take on it to Soundcloud by Feb. 1 and you might win your own Audeze LCD-2 Fazor headphones (valued at $995), as well as a copy of Serum or other prizes. Or slap on some camo cargo pants, a black wifebeater, a fresh New Era brim, drop $6.99 on iTunes for ''Under the Radar'' and spend a night stomping the yard and chewing your own face off. Evol Intent has also been actively giving away much of the group’s back catalogue on its [https://soundcloud.com/evolintent|Soundcloud] account, but toss a little change at your “local” artists, bros."
  ["tracker_field_contentWikiPage_creation_date"]=>
  string(25) "2017-10-24T10:48:52+00:00"
  ["tracker_field_contentWikiPage_modification_date"]=>
  string(25) "2017-10-24T10:48:52+00:00"
  ["tracker_field_contentCategory"]=>
  array(1) {
    [0]=>
    string(3) "521"
  }
  ["tracker_field_contentCategory_text"]=>
  string(3) "521"
  ["tracker_field_contentControlCategory"]=>
  array(1) {
    [0]=>
    string(3) "521"
  }
  ["tracker_field_contentControlCategory_text"]=>
  string(3) "521"
  ["tracker_field_scene"]=>
  array(0) {
  }
  ["tracker_field_contentNeighborhood"]=>
  array(0) {
  }
  ["tracker_field_contentRelations_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedContent_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentRelatedWikiPages_multi"]=>
  array(1) {
    [0]=>
    string(0) ""
  }
  ["tracker_field_contentBASEContentID"]=>
  string(8) "13081466"
  ["tracker_field_contentLegacyContentID"]=>
  string(8) "13157689"
  ["tracker_field_contentBASEAuthorID"]=>
  int(0)
  ["tracker_field_contentLegacyURL1"]=>
  string(70) "/mediaserver/atlanta/2015-17/1420825855-undertheradar_artwork_1200.jpg"
  ["tracker_field_contentLegacyURL1PhotoCredit"]=>
  string(23) "Courtesy of Evol Intent"
  ["tracker_field_section"]=>
  array(0) {
  }
  ["language"]=>
  string(7) "unknown"
  ["attachments"]=>
  array(0) {
  }
  ["comment_count"]=>
  int(0)
  ["categories"]=>
  array(1) {
    [0]=>
    int(521)
  }
  ["deep_categories"]=>
  array(3) {
    [0]=>
    int(242)
    [1]=>
    int(243)
    [2]=>
    int(521)
  }
  ["categories_under_28"]=>
  array(0) {
  }
  ["deep_categories_under_28"]=>
  array(0) {
  }
  ["categories_under_1"]=>
  array(0) {
  }
  ["deep_categories_under_1"]=>
  array(0) {
  }
  ["categories_under_177"]=>
  array(0) {
  }
  ["deep_categories_under_177"]=>
  array(0) {
  }
  ["categories_under_209"]=>
  array(0) {
  }
  ["deep_categories_under_209"]=>
  array(0) {
  }
  ["categories_under_163"]=>
  array(0) {
  }
  ["deep_categories_under_163"]=>
  array(0) {
  }
  ["categories_under_171"]=>
  array(0) {
  }
  ["deep_categories_under_171"]=>
  array(0) {
  }
  ["categories_under_153"]=>
  array(0) {
  }
  ["deep_categories_under_153"]=>
  array(0) {
  }
  ["categories_under_242"]=>
  array(0) {
  }
  ["deep_categories_under_242"]=>
  array(2) {
    [0]=>
    int(243)
    [1]=>
    int(521)
  }
  ["categories_under_564"]=>
  array(0) {
  }
  ["deep_categories_under_564"]=>
  array(0) {
  }
  ["categories_under_1182"]=>
  array(0) {
  }
  ["deep_categories_under_1182"]=>
  array(0) {
  }
  ["freetags"]=>
  array(0) {
  }
  ["geo_located"]=>
  string(1) "n"
  ["allowed_groups"]=>
  array(2) {
    [0]=>
    string(6) "Admins"
    [1]=>
    string(9) "Anonymous"
  }
  ["allowed_users"]=>
  array(0) {
  }
  ["relations"]=>
  array(1) {
    [0]=>
    string(77) "tiki.wiki.linkeditem.invert:wiki page:Content:_:Evol Intent back on the radar"
  }
  ["relation_objects"]=>
  array(0) {
  }
  ["relation_types"]=>
  array(1) {
    [0]=>
    string(27) "tiki.wiki.linkeditem.invert"
  }
  ["relation_count"]=>
  array(1) {
    [0]=>
    string(29) "tiki.wiki.linkeditem.invert:1"
  }
  ["title_initial"]=>
  string(1) "E"
  ["title_firstword"]=>
  string(4) "Evol"
  ["searchable"]=>
  string(1) "y"
  ["url"]=>
  string(10) "item149880"
  ["object_type"]=>
  string(11) "trackeritem"
  ["object_id"]=>
  string(6) "149880"
  ["contents"]=>
  string(3288) "    Drum and bass trio returns with a new EP titled Under the Radar.   2015-01-12T15:09:00+00:00 Evol Intent back on the radar   Tony Ware 1223520 2015-01-12T15:09:00+00:00  
*Courtesy of Evol Intent
*


Production/DJ trio Evol Intent has been steppin’ in and out of the ATL for over a decade, dropping neuro smashers, techy gnashers, and heavy drums lacerated with hip-hop shards. If a lot of that sounds like nonsense jargon, you’re obviously not a connoisseur of skullfucking drum ‘n’ bass. 

And that’s okay; some people think cucumbers taste better pickled. But if you are going to catch up on one of electronic music’s more aggressive genres, hit up any major digital store for Evol Intent’s recently released seven-track EP, Under the Radar, and you’ll get a pounding entry into where synapses and subwoofers get shredded.

              jump        
The group — Michael/Gigantor, AJ/Enemy (a.k.a. Treasure Fingers), and Nick/Knick (a.k.a. Bro Safari) — is physically split among L.A., Atlanta, and Austin, and is equally divergent aesthetically, with secondary projects in shoegazer rock, disco house, and trap music. They collaborate, as many now do, by trading project files remotely. Even though they run separate sessions, however, the end result merges layers of surgical precision and low-frequency punishment. 

Despite infusing the EP with sub-Reddit injokes and contorted dystopian sci-fi/horrorcore samples, EVLNTNT (if you’re into that whole brevity thing) does not lack for melody. Under the Radar packs in detuning synths, dissident microedits, ragga twitches, and moments of half-time “drumstep” tempo alongside more introspective swatches. A lot of variety is generated from the distending, submerging, and verbalizing of Xfer Records’ new Serum synth (for which Gigantor programmed patches). 

Gigantor also credits Audeze LCD-XC headphones as one of his key mixdown tools. I tell you this because I have personal experience with this planar-magnetic headphones company, and outside of a club, you haven’t heard low end ripple your scalp as viscerally and decisively. Audeze and EVLNTNT share a few traits: highly resolving soundstages, full-throttle textures, and deep connections to the heavy bass music community. Want more proof tracks you cook up with Audeze could be hot shit? See Gigantor’s star turn here: #mixanywhere. And this endorsement serves as a logical transition to sharing news of EVLNTNT’s remix contest. 

Visit the group’s website and you can download stems from the song “Middle of the Night” to remix. Upload your take on it to Soundcloud by Feb. 1 and you might win your own Audeze LCD-2 Fazor headphones (valued at $995), as well as a copy of Serum or other prizes. Or slap on some camo cargo pants, a black wifebeater, a fresh New Era brim, drop $6.99 on iTunes for Under the Radar and spend a night stomping the yard and chewing your own face off. Evol Intent has also been actively giving away much of the group’s back catalogue on its Soundcloud account, but toss a little change at your “local” artists, bros.             13081466 13157689        /mediaserver/atlanta/2015-17/1420825855-undertheradar_artwork_1200.jpg Courtesy of Evol Intent                 Evol Intent back on the radar "
  ["score"]=>
  float(0)
  ["_index"]=>
  string(21) "atlantawiki_tiki_main"
  ["objectlink"]=>
  string(211) "Evol Intent back on the radar"
  ["photos"]=>
  string(130) "Coming Soon

"
  ["desc"]=>
  string(73) "Drum and bass trio returns with a new EP titled Under the Radar."
  ["eventDate"]=>
  string(73) "Drum and bass trio returns with a new EP titled Under the Radar."
  ["noads"]=>
  string(10) "y"
}

Article

Monday January 12, 2015 10:09 am EST
Drum and bass trio returns with a new EP titled Under the Radar. | more...
Search for more by Tony Ware

[Admin link: Distal's electronic odyssey]