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Henry Owings

Chunklet founder's 'Micro-Impressions' 7-inch breaks comedy rules

Henry Chunket.5a3167fa3e1b4
Photo credit: Daniel Mueller
FUNNY MAN: Henry Owings of Chunklet Industries

In the nine years years since publishing an issue of Chunklet Magazine, Henry Owings has remained a creative force in multiple facets of indie rock and comedy. On the homefront, the Atlanta-based promoter and graphic designer books music and comedy shows and makes eye-catching gig posters for 529 and the Earl. He's also the author of The Indie Cred Test and other books, a record label boss, and the graphic designer behind numerous new and reissued vinyl releases for Numero Group and others, including recent Husker Du, Unwound, and White Zombie box sets.

Now, Owings comes full circle, applying the same type of snarky takedowns that made his magazine an underground sensation to a self-released comedy record, Micro-Impressions Volume 1, and an accompanying February tour.



 

Micro-Impressions Volume 1 compiles numerous rapid-fire one-second band impressions, ranging from U2 to Cat Power. "It's something I'd been kicking around pretty much since my early 20s," Owings says. "I think time has offered me some really good material. I do not expect anybody to get 80 percent, 90 percent of the impressions. But you know what? I truly don't care because I thought it was funny."


The record's ambitious, text-driven artwork also mirrors Chunklet-style humor. The eight-panel cover includes Owings' extensive notes on the making of the record, followed by brief, anonymous reviews written by friends. "Just because Chunklet is Chunklet and I've taken a few people down a few pegs, either deliberately or non-deliberately, over the years of writing myself, it's kind of like me sticking my chin out, pointing at my chin and saying, 'Give me your worst.'"

Aside from a few positive takes, most of the blurbs heckle Owings' comedic style. 'To be filed in the 'I spend eight-plus hours a day retouching Unwound photos and trying to match fonts against old White Zombie flyers' part of the 'humor' section of iTunes," reads one particularly scathing review, credited to DF.

The record has been released so far on 7-inch vinyl and, thanks to Third Uncle Records in Indianapolis, it's on cassingle, three-inch CD, and, to really up the outdated and inconvenient medium ante, mini-disc.

Owings now plots a five-day tour of the Northeast in February. He'll share bills with Bardo Pond and Major Stars, two bands he's tried to lure to Atlanta for over a decade.

In the meantime, Owings basks in a personal victory. So far, Third Uncle has sold five copies of its made-to-order mini-disc versions of the record, complete with an especially obnoxious two-point font version of the artwork. "I'd love for anyone out there to counter what I'm about to say," Owings adds, 'I'm the number one selling mini-disc artist for the past year."

There are no local dates for the Micro-Impressions tour, but Owings returns to 529 on Sat., Dec. 16 for a Drunk and Disorderly Afternoon with A-Hole Santa . 1-6 p.m. 529 Flat Shoals Ave. 404-228-6769. www.529atlanta.com.

 



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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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