SONG PREMIERE: Dot.s reveal ‘Down Goes the Elephant’

Down Goes the Elephant by Dot.s

Press play on “Down Goes the Elephant,” the latest, 12-minute opus from electronic pop outfit Dot.s, and a virtual universe unfolds, complete with fugue-like changing parts, and a roller coaster ride of emotional states. The song is a semi-operatic departure that finds the group reaching new highs in both composition and collaborative synergy. The Atlanta Philharmonic warms up the intro, setting the mood and establishing a palette for a colorful and propulsive departure for Dot.s. While there are similarities to the music heard throughout previous efforts Jellyfiss and We Swim, “DGTE” comes together on a grand scale in terms of both concept, arrangements, lyrics, and even its artwork (pictured above). Guest vocalists Grace Bellury of Karaok, and Catherine Quesenberry, formerly of Qurious and Shampoo, add vocal texture to the song, while singer and guitarist Ryan James along with Joe Crabb (trumpet, synth), Bonnie Hardie (vocals and synth), Nick Lynds (bass), and Garrett Goss (drums) build upon the group’s trademark melodies and harmony.

Before hosting a tape release party at the Earl on Sat., Dec. 30 , James took a few minutes to talk about how “DGTE” came together, and what the group had in mind while spending much of the year putting it all together.

Did you set out to achieve some compositional and collaborative new highs with “Down Goes the Elephant,” or did it happen naturally?

In short, yes, the first thing. Everything on “Down Goes The Elephant” was structured with a kind of scrutiny that we tried to stick with as best we could, which is the big reason it took a little over a year to write and record. I guess what I wanted to do was start with something that sounded bubbly and energetic and have that turn into something really sad and barren.

What else did you have in mind while putting the song together?

I wanted to have a stand-alone, not-album, not-song thing that was ‘A’) long, ‘B’) not a chore to get all the way through (despite its length), and ‘C’) to feature some people whose work I really admire and listen to regularly. It was something we collectively felt we had to get out of our system, so we could progress in the other direction following “DGTE,” and make an album of short and concise songs, which is actually way harder for us than doing something like this.

What inspired the change in direction with this song?

We’re all pretty aware that while having a winding, operatic, (semi) pretentious piece of pop music is exciting for us, it’s so not a new idea. I like it when mediums are patient and don’t spoon feed plot and symbolism. I like feeling like the artist knows that their audience is smart and can handle something that’s long without losing interest, and this was our stab at fulfilling those two facets that pique our personal interests when we’re viewing/listening to stuff.

How did so many collaborations come together for this song?

I honestly just wanted to write parts for these musicians and be able to record them singing/playing those parts. Grace and Catherine both have these out of control voices that are so unique and wild and their own. We’ve been playing shows together for years in such a small proximity. It doesn’t make sense to me to have a concrete, capital “B” Band that is exclusive to itself, and impervious to outsiders. As far as the APO, I really wanted to start the EP off with this operatic thing and then immediately betray that with something very quantized and electronic. They’re also fucking amazing. We left the mics on once we had what we needed and recorded their actual rehearsal.

Dot.s, Suno Deko, Half, State, and Palmlines play the Earl on Sat., Dec. 30. $8. 9 p.m. (doors). 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.