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Dinos Boys get nasty with debut LP

'Last Ones' rekindles punk immediacy

Dinos Boys
Photo credit: Courtesy Die Slaugherhaus Records
DINOS BOYS: 'Last Ones'

Dinos Boys may have been born in New York, as was the group's gritty and rebellious rock 'n' roll sneer. But the sounds of its debut album, Last Ones, co-released by Atlanta garage punk stalwart Die Slaughterhaus and NYC's Oops Baby Records, fit the canon of modern ATL like a hand in a fingerless black leather glove. This should come as no surprise. When singer and guitarist Danny Song formed the group's Atlanta chapter and took the stage for the first time in January 2012, he turned to a lineage of local musicians who had set the standard for '70s worship in the local rock scene of the early aughts: the Heart Attacks lead singer Chase Noles (guitar, vocals) and former Beat Beat Beat member Mike "Bison Beavers" Koechlin (bass).

Drums have been handled by a few like-minded punks: Founding drummer Matt McCalvin gave up the seat to focus his time and energy playing in local outfit Zoners. Recently, drum duties have been taken over by Tyler Kinney of local hardcore bands Ralph and Manic, and son of Drivin' N Cryin's singer and guitarist Kevn Kinney.

Sporting a band name that's an acronym — Despicable, Ignorant, Nasty, Ole Shitstirrers — while unintentionally name checking Dino's Bar and Grill, a hangout mentioned in Thin Lizzy's 1976 bad boy anthem "The Boys Are Back in Town," Dinos Boys have a reputation that's tougher than the typical garage punks and cassette-tape fetishists. But that's not to say the group's music or image are without a sense of humor. Anyone who has ever caught one of the group's live sets and listened to Noles' between-song banter from the stage knows the humor all too well. Likewise, the group's songs are rowdy, raucous, and lot of fun.

The 11 songs that make up Last Ones span only about 20 minutes of harmony and riffs taking cues from a '70s punk pretense of both East and West coasts, pub rock, occasional hints of U.K. glam attitude, and some Aussie proto-punk to boot.

The sing-along anthems of songs such as "She Cut Me," "Be Low," and "Marie Laveau" recall the guitar-driven pop of early California punk instigators and 2013 Atlanta Mess-Around co-headliners the Zeros. Rougher around the edges, but still catchy due to Song and Noles' shared vocals and guitar riffs, cuts like "Rookie" owe abrasive New York proto-punks the Testors a debt of gratitude. The album's highlight, "Knee High," builds on some rock 'n' roll clichés ("Since I've been knee high, I've been ready to ride"), but it's the best glam stomper to come out of Atlanta since the Barreracudas' "Ballroom Disasters" heyday.

The rawness of both the recording and the band's presence throughout each song underscore a sense of immediacy — an element that's missing from a lot of modern punk records. And even though Last Ones is filled with songs that hearken to Dinos Boys' "ex members of" family tree (Beat Beat Beat, the Heart Attacks, etc.), these cuts don't give a nod to its members' former glories as much as they thrive on a new strain of punk energy, serving as notice to the rest of the world that rock 'n' roll is alive and well in Hate City.



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Article

Friday June 8, 2018 10:47 pm EDT
Despite living far from the city, 'TEEMING' provides melody-rich songwriting | more...
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  string(2177) " Music Profiles1 5 11  2018-06-13T18:09:50+00:00 Music_Profiles1-5_11.jpg     'Easy, Sleazy, and Greasy' blends classic honky-tonk and rockabilly song structures 6562  2018-06-08T15:11:57+00:00 Andrea Colburn and Mud Moseley increase focus  laureneleathers@gmail.com Lauren Leathers Bobby Moore   2018-06-08T15:11:57+00:00  Guitarists, singers, and songwriters Andrea Colburn and Mud Moseley’s debut album Easy, Sleazy and Greasy brings welcome levity to the sometimes uptight world of traditional country music. Comedy and country music go hand-in-hand, based on the calculated nonsense of Roger Miller, the self-deprecating persona of Mel Tillis, or the shameless vulgarity of Wheeler Walker Jr. The duo took cues from each approach, resulting in the absurd series of calamities in "Sad Country Song," the darkly comedic breakup anthem "Garbageman," and the lewd yet hilarious "Pepperoni Sue."

For Moseley, irreverence wasn't the aim when he first started writing country songs with Colburn. "It happened because we're both sarcastic people," he says. "It seems to be that we either write sad songs or ones that are kind of puns. I think it ends up being easier to write if you put some humor into it."

The duo's self-described "surf western" sound blends classic honky-tonk and rockabilly song structures with both members’ punk, garage, and classic rock reference points. Colburn first wanted to play guitar after discovering Led Zeppelin as a teenager, and she cites Mazzy Star, alongside Hank Williams and early Willie Nelson, as musical influences. Moseley says they have enough new songs to fill a new album, marked by an increased focus on the surf half of "surf western." It'll be the next progression in a modern, countrified sound, built on a songwriting duo's shared appreciation for story-driven lyrics and bawdry humor.

Andrea Colburn and Mud Moseley play Star Bar on Sat., June 16. $10. 7 p.m. (doors). Star Bar, 437 Moreland Ave. N.E. 404-500-4942. www.starbaratlanta.com.    Stephen Crocker SAD COUNTRY SONG: Andrea Colburn (left) and Mud Moseley.                                   Andrea Colburn and Mud Moseley increase focus  "
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Friday June 8, 2018 11:11 am EDT
'Easy, Sleazy, and Greasy' blends classic honky-tonk and rockabilly song structures | more...
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  string(56) "Charley Crockett created his sound the old-fashioned way"
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In an era when what’s being called country and Americana music, more often than not, comes across as contrived, overly polished, and out of ideas, San Benito, Texas-born singer, guitar slinger, and songwriter Charley Crockett picked up his blues, hillbilly, and soul sensibilities the honest way. He is the real deal, a wandering troubadour making his way through an increasingly homogenized world of commercial music. With his latest album, Lonesome As A Shadow (Son Of Davy), Crockett follows a creative path that intersects with rap and soul music en route to hillbilly and blues purity, culminating in a collection of songs that draw from both classic and contemporary roots music influences.

After soaking up the musical and cultural climates of Dallas and New Orleans, Crockett caught ramblin’ fever, becoming a street musician settling into various cities around the globe — New York, San Francisco, Paris. At each stop, a mix of seasoned sidewalk and subway players and hard to please tourists taught him the perks of playing simple, sincere blues and folk songs. "Once I started playing those blues numbers in the streets, I realized that I could pour my soul into those simple songs," he says.

As a street musician, avoiding commercial sounds was in part a financial decision. "The musicians who are making the money and getting the tourists' attention are playing legitimate, old jug band music, the really old-time spirituals, early New Orleans traditional jazz," Crockett says. "That swing music. If you're sitting out there on the street next to them playing that homogenized stuff, you're not going to make any money. They're not going to stop for you because there's a way more authentic band down the street."

Crockett's love of soul singers doesn't come from his travels, although his initial reference points would sound at home on street corners and in urban subways. His path to traditional music came from honing in on the soul samples he heard rap and hip-hop artists using in their songs. Be it the Roots, Talib Kweli, or Mos Def, Crockett developed a love for the rhythms he hears sampled by contemporary artists, and has synthesized their sounds into his singular brand of country and Americana songwriting. "I was hearing those samples, and I'd be more interested in those original artists,” he says. “Maybe an Aretha Franklin would get sampled or Nina Simone or Wendy Rene or Joe Tex or somebody like that. I'd go find those soul records, and listen to that artists' whole catalog."

This dynamic is part of what makes Lonesome As A Shadow so easy on the ears. Crockett considers commercial music's past at times, with standout number "Lil' Girl's Name" owing more to early rock 'n' roll than the expected blues and folk reference points. Other songs, such as the classic Western story-song "Goin' Back to Texas," and the Bakersfield meets Bourbon Street feel of "Change Yo' Mind" come directly from Crockett’s street corner schooling.

With Lonesome As A Shadow, Crockett creates songs that are enticing for hip-hop heads, digging deep to find samples, and for country and blues purists alike — a little something for everyone.

Charley Crockett with Nikki Hill. $10-$12. 8 p.m. (doors). The Earl, 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.

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Tuesday April 24, 2018 10:52 am EDT
'Lonesome As A Shadow' comes straight from the streets | more...
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Col. JD Wilkes is an old-time Southern culture anachronism. The banjo picker and unpredictable front man leading the Legendary Shack Shakers' 20-plus year run of success also looks to his old Kentucky home as a filmmaker, author, and visual artist. Everything the irreverent and self-proclaimed "Southern surrealist" creates touches on regional music, from its roots in rural churches to its role in the creation of the "devil's music." Wilkes’ latest album Fire Dream continues this trend, with such standout tracks as "Wild Bill" and "Starlings" allowing both the local minister and the town drunk a chance to front your hometown's best string band. With Nikki & the Phantom Caller and the Waymores. $10 (adv.), 6:30 p.m. Sun., Feb. 25. Smith's Olde Bar (The Music Room), 1578 Piedmont Ave. NE. 404-875-1522. www.smithsoldebar.com.

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Article

Thursday February 15, 2018 05:00 pm EST
The Legendary Shack Shakers frontman sings about a surrealist South | more...
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Whether on stage or in the grooves of 2016's debut full-length, Gold, the up-tempo and fully aggressive sound wielded by Atlanta noise rock trio Whores. packs quite a punch. Pummeling rhythms courtesy of drummer Donnie Adkinson and bass player Casey Maxwell underscore singer and guitarist Christian Lembach’s heavy-hitting riffs and ire for society’s shortcomings. Songs with titles such as “Mental Illness As Dating Ritual” and “I See You Are Also Wearing a Black T-Shirt” read like crass inside jokes. However, they are real-world musings that rail against modern musical culture. As for the polarizing band name, it’s simply meant to remind listeners of the cruel, dehumanizing labels society flippantly assigns to “others.”

It's been seven months since Whores. played an Atlanta show. Catch them at the Masquerade before they head back out on the road for a stretch of shows in February with Washington, D.C's melodic death metal torchbearers Darkest Hour.

With '68, Pretty Please, Bataille. $15 (adv.). 7 p.m. (doors). Sun., Dec. 17. Masquerade (Hell). 75 MLK Jr. Drive S.W. 404-577-8178. www.masq.com.

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Friday December 15, 2017 04:50 pm EST
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