Irrelevant Music Fest top 9

Jock Gang has witnessed many lineup changes since forming in Athens, Georgia circa 2015. Founding members Kimberly and Jared Collins keep their “harsh art rock” project ever-fresh while staying true to their vision, as songs such as “Tell Me About It,” parts one and two, from 2016’s EP draw comparisons to Lou Reed and the Velvet Underground. Now based in Atlanta, Kimberly on bass, Jared on guitar and vocals, Gavin Caffrey Perez-Canto (Fishmonger) on drums and Hayes Hoey (ex-Slang) on guitar revel improvisation around loose musical structures. The group, however, maintains raucous and twanging guitars, and a minimalism pushed to the max dynamic steeped in noise, scale-climbing bass, deadpan vocals and unwavering percussion. Jock Gang’s current lineup has a new release, titled the Cool EP, out Aug. 25. (Thurs., July 20, the Earl) Aja Arnold

Fresh off the April release of the group’s second album, Thought Garden, Deep State returns to play Irrelevant Music Fest for the second year in a row. Formed in Athens, Georgia by friends Taylor Chmura (vocals, guitar), Christian DeRoeck (guitar), Michael Gonzalez (drums) and Brandon Page (bass), Deep State delivers cacophonous rock driven by fuzzy guitars and punchy percussion, exemplified by songs such as “Death Waltz” and “Eight.” But the group takes on more introspective forms in songs such as Thought Garden’s title track, offering a pensive oasis halfway through the LP with sparse instrumentation and muddled vocals. Keep an ear out for songs from the group’s forthcoming album, The Path To Fast Oblivion. Thurs., July 20, the Earl). Kristy Guilbault

Boy Harsher returns to Atlanta from Northampton, Massachusetts, bringing rabid and sultry elements of noise and dance to the Irrelevant Music Fest. Augustus Miller and Jae Matthews formed Boy Harsher in 2013, throwing shows in a corner gallery and playing basements in Savannah, Georgia, before moving to Atlanta where they amplified their relationship with Matt Weiner of DKA Records. Their latest LP, Yr Body Is Nothing, envelopes listeners with a perpetuating onslaught of Miller’s catchy, synthesized and harmonizing electronic dark wave blips alongside Matthew’s lusty, haunting voice. “Morphine“ and the album’s title track are chilling dance floor fodder harboring a droning murkiness. “Suitor” hones in on burgeoning industrial rhythm and beats and creepy vocals. (Fri., July 21, 529). AA

Pamela_and her sons is the solo project of Savannah, Georgia transplant Alessandra Hoshor. While Hoshor works primarily as a visual artist, her work shares a symbiotic relationship with music. The project began as a performance piece for which she wrote a score that played as she ripped out of a grey painted paper business suit. The project became more musical over time, using combinations of synthesizers, sampling, sequencing and a range of vocal styles. Hoshor released her debut full-length, Hurt Plaza, via CGI records in March. The album is awash in sonic textures, rhythms and microtones illustrating noise, moving at a glacial pace, as it transforms into heavier, danceable moments filled with restlessness, desire, frustration and awe. (Fri., July 21, 529) AA

Nihilist Cheerleader makes the trek from Athens, Georgia bearing a fresh and altruistic brand of Southern dance-punk. Flynne Collins (guitar/vocals), Dylan Lofting (guitar), Leora Hinkle (bass) and Charley Barley (drums) formed the band in the summer of 2015. Since then, the group has developed strong community ties by addressing social and political issues via catchy chord progressions, splattering cymbals and light-hearted vocals. The group’s latest full-length, TRUTH or DARE, offers quick, jaunty summer jams such as “More & More“ and “Let’s Fight,“ as Collin’s voice playfully taunts listeners over Loftin’s fuzzed-out guitar, Hinkle’s jumpy bass and Barley’s punchy drums. Harder-edged songs such as “Retro Porn“ and “Happy Girl“ are complimentary with feedback, noise and screaming vocals. The group has since released its latest single “& She Takes It,” and plans to release Riot, Right? later this year. (Sat., July 22, 529). AA

Fast-paced lo-fi punk trio Lois Righteous was born in the summer of 2016, when three friends, Whitney Hansen (bass), Lisa Highfill (guitar) and Beth Cunningham (drums) taped a drum to a trash can and conjured a funny band name a play on 90.1/WABE radio host Lois Reitzes. Soon, the group was turning out songs with titles such as “Spit Whip” and “Sexual Pie Party,” delivered with an attitude that unintentionally invokes the spirit of the riot grrrl movement. “The term, riot grrrl, is understandably played out,” says Highfill. “But there are certain pillars of the manifesto that are still so relevant that we can’t turn away from it as an influence.”

The group’s Rude EP, due out in November, features a mix of protest, head-bobbing power chords and fuzz pedal jams party songs and love songs delivered with a simple message: “Fuck the patriarchy! Also, where’s my High Life?” (Sat., July 22, 529). AA

With a handful of stellar singles and mixtapes under her belt, Lord Narf has already made an indelible mark on the face of Atlanta hip-hop. The Awful Records signee revels in the kind of warbled, dimly-lit bangers that the label has perfected. On her 2016 mixtape Witchcraft, Narf wields familiar instruments of menacing sub-bass and smoky synthesizers with new ferocity. On standout single “Leave Yo Azz Alone,” she bounces her playful, nursery rhyme-esque cadence over a bed of skittering percussion. However, her sprightly delivery belies the bite of her words: “Okay I keep having these dreams ‘bout blowing lick and diamond rings/Baby please just supply me or I’ma leave you in the streets.” (Fri., July 21, 529). Paul DeMerritt

While details regarding Trashcan are sparse at best, it’s clear that the partial Sea Ghost off-shoot outfit is equal parts shoegaze and humor. The experimental pop four-piece, featuring Carter Sutherland (vocals), Matt Howe (drums), Reginald Levy (guitar) and Louis Johnson (bass), describes itself simply as “just a band.” As of press time, Trashcan’s discography includes just one single, “Ello,“ for which the group notes on Bandcamp that they all, “got shit faced and made this demo, one take. Someone said we needed music out.” It’s a proper introduction to the new band and its simple chord progressions, muddled vocals and crashing percussions. (Sat., July 22, the Earl). KG

Athens, Georgia folk-rock quartet Mothers’ 2016 debut album, When You Walk A Long Distance You Are Tired (2016), combines melancholy guitar riffs with Kristine Leschper’s expressive vibrato to create dynamic songs of longing and honesty. Throughout the album, songs such as “Too Small for Eyes” and “Lockjaw” highlight her pining voice, backed by sparse instrumentation courtesy of drummer Matthew Anderegg, guitarist Drew Kirby and bassist Patrick Morales. Album closer “Hold Your Own Hand” is reminiscent of ’50s doo-wop, calls on rigid percussion and denser guitar riffs to bitterly discuss a past love’s betrayal. (Sat., July 22, the Earl). 

Irrelevant Music Festival takes over 529 and the Earl July 20-22.