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FEATURED: DKA: Our label could be your life

"We made it so people feel like they don't have to be hardcore goths to be interested."

Chris Daresta of synthwave act Anticipation began working at Criminal Records in 2005. The Little Five Points record store then resided next to Junkman's Daughter, where James Ford of industrial-punk outfit Tifaret worked. Both musicians and DJs in their early 20s, the two became friends as Ford ventured into Criminal during breaks, bonding over such goth, industrial and post-punk provocateurs of the 1970s and '80s as Christian Death and Throbbing Gristle.

Daresta met Matt Weiner (ex-Featureless Ghost, sole member of dance/electronic act TWINS) while DJing a Living Walls party in 2012. The three formed an alliance, DJing synth-pop nights at El Myr, dance nights at Mary's, and the infamous Sisters of Turkey holiday Goth Danse Parties at 529. A scene emerged around their sets, so they simply put a name on it. "DKA was a way for people to say, ???Oh, it's those guys again,'" Ford says. "These fuckin' guys."

DKA's name appeared on gritty black-and-white fliers around town, branding the nights in Xeroxed early '80s cut-up style.

The scene gained momentum over the goth nights at 529, filling the club's cavernous space with boots on the dance floor, bathed in pulsating strobe lights, layers of fog and goth, post-punk, industrial and EBM beats.

"We brought it out of the shadows," Ford says. "We made it so people feel like they don't have to be hardcore goths to be interested. Maybe you love Joy Division, but you don't wanna wear platform boots and fishnet shirts. For a long time people felt ostracized if they didn't wanna do that. We made people feel OK to put on jeans and a T-shirt and go to a goth night."

After seeing Ryan Parks' local electro-experimental project Fit of Body, Daresta was convinced that someone should put out his recordings. One day at Criminal, sifting through bins with Ford, Daresta said he would start a label just to put out Fit of Body's record. Ford agreed, adding, "I feel like you and I should start a record label."

Daresta, Ford and Weiner funneled their earnings as they continued DJing and booking shows. "We don't take money from the shows ourselves; it's for the greater community," Weiner says. "When people come through, we set up a good show. DKA serves that function. People see stuff they might not have seen otherwise."

In July 2013, DKA Records debuted with a split 7-inch featuring Midwestern acts Dylan Ettinger and Goldendust. The label released Atlanta-based Southern gothic five-piece Women's Work's self-titled cassette and Fit of Body's Natural Lover the same year. When DKA released L.A. electro-punk High-Functioning Flesh's LP A Unity of Miseries, A Misery of Unities in 2014, they were on the map.Since then, DKA has attracted music they wish to cultivate, rather than seeking out. "One of the things I think about with us is Michael Azerrad's book Our Band Could Be Your Life," Ford says. "With the Black Flag scene, they were bringing people or going places where they wouldn't normally have punk shows. They were creating scenes."

Atlanta has become a destination for those on the fringes of punk and dance music's scenes, and DKA is a dark gateway. Artists around the world gravitate toward Atlanta and DKA, sending demos and booking shows.

The label's vibe isn't exclusively goth. In 2016, DKA saw another pivotal release: Northampton, Massachusetts-based coldwave synth-monger duo Boy Harsher's Yr Body Is Nothing, with two represses and 1,150 physical copies sold. The label broke international barriers with Australian synth-punk twin-brother duo Multiple Man's New Metal LP in March.

Daresta, Ford and Weiner have since spent countless hours shipping orders to listeners around the globe. Recently, they teamed up with Omnian Music Group, formed by Captured Tracks' owner/founder Mike Sniper, to handle distribution for the of Berlin-based Sally Dige's Holding On LP, which arrived Sept. 8.

Dige's album is another taking DKA to new heights; Dige drives listeners to the dance floor with songs of pain, loneliness and life's meaninglessness in commanding styles of post-punk, synth-pop and disco. "Dige is basically a one-woman Depeche Mode," Ford says.

With distribution time freeing up, DKA's founders are putting energies back into demos, booking shows and working on their individual projects. Daresta and Weiner's Pyramid Club released its Cyclic Obsession EP via Berlin-based label Unknown Precept in April. TWINS is releasing a full-length with Mike Simonetti's dance music label 2MR next year, and Tifaret will put out a release with Glasgow, U.K.-based label Clan Destine. Whether under the umbrella of DKA or in individual efforts, "these fuckin' guys" are set on a path of universal expansion from Atlanta to the world.



More By This Writer

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  string(7862) "The Constellations hit a high mark in 2012. After completing two cross-country tours, and finding notable commercial success — the soul-rock outfit’s music was featured in television shows such as “Suits” and “Vampire Diaries,” as well as the 2011 comedy film Horrible Bosses — frontman Elijah Jones seemed to be on top of the world. But the Constellations' activity came to an abrupt stop, and the group cancelled touring in 2013, leaving Jones to work on a new record while he attempted to piece things together in the depths of his drug addiction and heavy drinking. Jones moved to Nashville in 2014 and left the tracks of the Constellations’ third record sitting in friend and colleague Dan Dixon’s studio, untouched for nearly five years.

Jones still lives in Nashville and has been sober since he relocated; for the first few years he left music alone and focused on building a new foundation for his life. Dixon and Jones reconvened in 2018, and dusted off the songs they’d left behind. Together, with a “fuck it, let’s run it” attitude, leaving no disappointment or self-pity to chance.

Jones returns to Atlanta on Saturday, March 30, with a fresh lineup, borrowing members of Dixon’s band PLS PLS, to perform the new songs. Jones took a few minutes to discuss the album that chronicled his downfall, facing his fears of playing music in sobriety, and releasing his music after all this time.

CL: When you picked the songs back up, they had been sitting recorded since you left Atlanta in 2014 to to begin your recovery in sobriety, correct?

EJ: Yeah. Some of them weren’t finished, we just put a little polish on them. But for the most part, they were done and they’d just been sitting since 2013, which was a really difficult time. Throughout recording, I was pretty deep into some pretty sick chemical dependency and heavy drinking. In 2014, everything fell apart… Dan Dixon and my manager worked together to get me into MusicCares and a long-term rehab. That’s how I ended up in Nashville.

What is your relationship with Dan Dixon?

Dan and I had been making records in Atlanta separately for a long time. We were friends with a mutual respect. The first thing we worked on together was a cover of “Cocaine,” an old blues song by Abner Jay. Graham Marsh, the Grammy-winning producer and half of Atlanta indie-pop/trip-hop duo CLAVVS got the ball rolling for us to do this thing and we did it. That was the first time Dan and I worked together, and we realized we liked each other’s style. When I took time off from touring with the Constellations I ran into him and he invited me to come in and record. Eventually that turned into the next Constellations record, King of the Gutter.

What held you back from finishing the record once you got sober?

I was scared of being on stage sober, of not being relevant, and that nobody would care. I was scared that I would go back to drinking and using again. It’s like one couldn’t exist without the other. The main part was getting back on stage and feeling naked without having something in my system. I didn’t think I could do it. I didn’t think it was going to be fun anymore, even though it hadn’t been fun for a long time with drugs and alcohol. All of that stopped working a long time ago. It was just me maintaining this thing that really didn’t make any sense. It was just all I knew. Pretty cliche. But I thought that’s how you did it; I didn’t know there was another way.

So why now?

A friend of mine from Milwaukee noticed us on a playlist and getting a bunch of plays on Spotify and he talked me into looking at the record. I remember listening to it and thinking, “We should just put it out. If people are interested, awesome. If they’re not, it’s not going to ultimately matter” (laughs). Why not just put it out for the world? Once we did that, we polished them up and put a couple singles out and got some reaction. Just felt like the next thing. I’m really excited about it, cause I’m loving the lineup I have. I didn’t think I was going to want to revisit some of the songs, you know… But it’s a lot of fun.

The album does sound like it comes from a pretty rocky place, to say the least.

Yeah, it’s strange. I listen to it now and it’s stuff I didn’t know I was facing at the time. I was documenting my downfall… There’s even language in it that I use now in recovery in those songs and I don’t know where that came from. It really is like art imitating life. I feel like something out there in the universe was telling me that I’d had enough and I needed some help. I wasn’t ready at the time to face that, but somehow I was able to document some of it. I wasn’t brave enough to admit that to anyone out loud, but I was brave enough to put it in song. At the time, I was truly afraid of everything. I couldn’t face the day without some kind of chemical crutch. I was afraid of failure and afraid of people around me — them realizing that I really had a problem and what life would look like if I had to actually do something about the problem. Afraid of change. Afraid of it all.

Any glaring examples of that language you mentioned?

In “All That Remains” there’s a line about being afraid of it all: “I don’t know what I am/But I know what I’m not.” Further on into that song: “If you leave me on the mountain / There’s only one way down / That’s my answer.” I don’t know if I knew what I was talking about at the time, but that seemed to be the only answer, to kill myself. I didn’t know how to live life like that anymore, but I didn’t know how to do anything else. Later on, in “Can’t Do Right,”... That song is just chronicling the feeling of trying to do right and just keep failing. Trying to live a life I think my parents wanted for me, that some higher power wanted for me. I just wasn’t able to do it; I tried and I failed. Then I tried and I failed. Just feeling lost out on a dirt road. That whole Robert Johnson thing with the crossroad, like I accidentally sold my soul to the devil or something a long time ago.

Since you’ve been in Nashville, you’ve been playing in your new project, Elijah Jones & the Tenderness. What was it like going back up stage after some time off?

The Tenderness project was just a way for me to continue to write, to continue to work. I put a band together for it, ‘cause playing on my own was just too terrifying. I remember our first show at the Springwater, which is a divey little bar in Nashville. I don’t even remember the first two songs. I felt like my voice was shaking the entire time, my hands were shaking. By the third song, it was like, “Okay, I’m good. This is what I like to do.” I remembered what I liked about playing live again. All that fear just went away, and I had a blast. I think that’s what’s changed the most; I don’t really care about being successful. I don’t even know what that is, honestly. The part that I love is writing songs and playing them live for people. The rest of it is just… static.

What is life like for you now in Nashville and in your recovery?

Life is still hard (laughs). You know? I still feel sad and isolated and alone, sometimes, but I have people in my life who care about me and I have a good support system. I have a great relationship with my family. Those things that are most important for me are the things I forgot about when I was in full-on Constellations mode. So things are okay, they’re alright today. There’s ups and downs, but I can live with all of it today. I don’t have to self-destruct anymore over the littlest bumps in the road. -CL-

The Constellations play Aisle 5 on Sat., March 30. With PLS PLS. $15. 9 p.m. 1123 Euclid Ave. N.E. www.aisle5atl.com."
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Jones still lives in Nashville and has been sober since he relocated; for the first few years he left music alone and focused on building a new foundation for his life. Dixon and Jones reconvened in 2018, and dusted off the songs they’d left behind. Together, with a “fuck it, let’s run it” attitude, leaving no disappointment or self-pity to chance.

Jones returns to Atlanta on Saturday, __March 30__, with a fresh lineup, borrowing members of Dixon’s band PLS PLS, to perform the new songs. Jones took a few minutes to discuss the album that chronicled his downfall, facing his fears of playing music in sobriety, and releasing his music after all this time.

__''CL:'' When you picked the songs back up, they had been sitting recorded since you left Atlanta in 2014 to to begin your recovery in sobriety, correct?__

EJ: Yeah. Some of them weren’t finished, we just put a little polish on them. But for the most part, they were done and they’d just been sitting since 2013, which was a really difficult time. Throughout recording, I was pretty deep into some pretty sick chemical dependency and heavy drinking. In 2014, everything fell apart… Dan Dixon and my manager worked together to get me into MusicCares and a long-term rehab. That’s how I ended up in Nashville.

__What is your relationship with Dan Dixon?__

Dan and I had been making records in Atlanta separately for a long time. We were friends with a mutual respect. The first thing we worked on together was a cover of “Cocaine,” an old blues song by Abner Jay. Graham Marsh, the Grammy-winning producer and half of Atlanta indie-pop/trip-hop duo CLAVVS got the ball rolling for us to do this thing and we did it. That was the first time Dan and I worked together, and we realized we liked each other’s style. When I took time off from touring with the Constellations I ran into him and he invited me to come in and record. Eventually that turned into the next Constellations record, ''King of the Gutter''.

__What held you back from finishing the record once you got sober?__

I was scared of being on stage sober, of not being relevant, and that nobody would care. I was scared that I would go back to drinking and using again. It’s like one couldn’t exist without the other. The main part was getting back on stage and feeling naked without having something in my system. I didn’t think I could do it. I didn’t think it was going to be fun anymore, even though it hadn’t been fun for a long time with drugs and alcohol. All of that stopped working a long time ago. It was just me maintaining this thing that really didn’t make any sense. It was just all I knew. Pretty cliche. But I thought that’s how you did it; I didn’t know there was another way.

__So why now?__

A friend of mine from Milwaukee noticed us on a playlist and getting a bunch of plays on Spotify and he talked me into looking at the record. I remember listening to it and thinking, “We should just put it out. If people are interested, awesome. If they’re not, it’s not going to ultimately matter” (laughs). Why not just put it out for the world? Once we did that, we polished them up and put a couple singles out and got some reaction. Just felt like the next thing. I’m really excited about it, cause I’m loving the lineup I have. I didn’t think I was going to want to revisit some of the songs, you know… But it’s a lot of fun.

__The album does sound like it comes from a pretty rocky place, to say the least.__

Yeah, it’s strange. I listen to it now and it’s stuff I didn’t know I was facing at the time. I was documenting my downfall… There’s even language in it that I use now in recovery in those songs and I don’t know where that came from. It really is like art imitating life. I feel like something out there in the universe was telling me that I’d had enough and I needed some help. I wasn’t ready at the time to face that, but somehow I was able to document some of it. I wasn’t brave enough to admit that to anyone out loud, but I was brave enough to put it in song. At the time, I was truly afraid of everything. I couldn’t face the day without some kind of chemical crutch. I was afraid of failure and afraid of people around me — them realizing that I really had a problem and what life would look like if I had to actually do something about the problem. Afraid of change. Afraid of it all.

__Any glaring examples of that language you mentioned?__

In “All That Remains” there’s a line about being afraid of it all: “I don’t know what I am/But I know what I’m not.” Further on into that song: “If you leave me on the mountain / There’s only one way down / That’s my answer.” I don’t know if I knew what I was talking about at the time, but that seemed to be the only answer, to kill myself. I didn’t know how to live life like that anymore, but I didn’t know how to do anything else. Later on, in “Can’t Do Right,”... That song is just chronicling the feeling of trying to do right and just keep failing. Trying to live a life I think my parents wanted for me, that some higher power wanted for me. I just wasn’t able to do it; I tried and I failed. Then I tried and I failed. Just feeling lost out on a dirt road. That whole Robert Johnson thing with the crossroad, like I accidentally sold my soul to the devil or something a long time ago.

__Since you’ve been in Nashville, you’ve been playing in your new project, Elijah Jones & the Tenderness. What was it like going back up stage after some time off?__

The Tenderness project was just a way for me to continue to write, to continue to work. I put a band together for it, ‘cause playing on my own was just too terrifying. I remember [[our first show] at the Springwater, which is a divey little bar in Nashville. I don’t even remember the first two songs. I felt like my voice was shaking the entire time, my hands were shaking. By the third song, it was like, “Okay, I’m good. This is what I like to do.” I remembered what I liked about playing live again. All that fear just went away, and I had a blast. I think that’s what’s changed the most; I don’t really care about being successful. I don’t even know what that is, honestly. The part that I love is writing songs and playing them live for people. The rest of it is just… static.

__What is life like for you now in Nashville and in your recovery?__

Life is still hard (laughs). You know? I still feel sad and isolated and alone, sometimes, but I have people in my life who care about me and I have a good support system. I have a great relationship with my family. Those things that are most important for me are the things I forgot about when I was in full-on Constellations mode. So things are okay, they’re alright today. There’s ups and downs, but I can live with all of it today. I don’t have to self-destruct anymore over the littlest bumps in the road. -CL-

''[https://www.aisle5atl.com/event/1828425-constellations-atlanta/ |The Constellations play Aisle 5 on Sat., March 30. With PLS PLS. $15. 9 p.m. 1123 Euclid Ave. N.E. www.aisle5atl.com.]''"
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  string(8312) " IMG 0954  2019-03-29T19:46:15+00:00 IMG_0954.jpg     Elijah Jones releases album five years after its conception 15613  2019-03-29T15:33:00+00:00 The Constellations return with ‘King of the Gutter’ chad.radford@creativeloafing.com Chad Radford Aja Arnold  2019-03-29T15:33:00+00:00  The Constellations hit a high mark in 2012. After completing two cross-country tours, and finding notable commercial success — the soul-rock outfit’s music was featured in television shows such as “Suits” and “Vampire Diaries,” as well as the 2011 comedy film Horrible Bosses — frontman Elijah Jones seemed to be on top of the world. But the Constellations' activity came to an abrupt stop, and the group cancelled touring in 2013, leaving Jones to work on a new record while he attempted to piece things together in the depths of his drug addiction and heavy drinking. Jones moved to Nashville in 2014 and left the tracks of the Constellations’ third record sitting in friend and colleague Dan Dixon’s studio, untouched for nearly five years.

Jones still lives in Nashville and has been sober since he relocated; for the first few years he left music alone and focused on building a new foundation for his life. Dixon and Jones reconvened in 2018, and dusted off the songs they’d left behind. Together, with a “fuck it, let’s run it” attitude, leaving no disappointment or self-pity to chance.

Jones returns to Atlanta on Saturday, March 30, with a fresh lineup, borrowing members of Dixon’s band PLS PLS, to perform the new songs. Jones took a few minutes to discuss the album that chronicled his downfall, facing his fears of playing music in sobriety, and releasing his music after all this time.

CL: When you picked the songs back up, they had been sitting recorded since you left Atlanta in 2014 to to begin your recovery in sobriety, correct?

EJ: Yeah. Some of them weren’t finished, we just put a little polish on them. But for the most part, they were done and they’d just been sitting since 2013, which was a really difficult time. Throughout recording, I was pretty deep into some pretty sick chemical dependency and heavy drinking. In 2014, everything fell apart… Dan Dixon and my manager worked together to get me into MusicCares and a long-term rehab. That’s how I ended up in Nashville.

What is your relationship with Dan Dixon?

Dan and I had been making records in Atlanta separately for a long time. We were friends with a mutual respect. The first thing we worked on together was a cover of “Cocaine,” an old blues song by Abner Jay. Graham Marsh, the Grammy-winning producer and half of Atlanta indie-pop/trip-hop duo CLAVVS got the ball rolling for us to do this thing and we did it. That was the first time Dan and I worked together, and we realized we liked each other’s style. When I took time off from touring with the Constellations I ran into him and he invited me to come in and record. Eventually that turned into the next Constellations record, King of the Gutter.

What held you back from finishing the record once you got sober?

I was scared of being on stage sober, of not being relevant, and that nobody would care. I was scared that I would go back to drinking and using again. It’s like one couldn’t exist without the other. The main part was getting back on stage and feeling naked without having something in my system. I didn’t think I could do it. I didn’t think it was going to be fun anymore, even though it hadn’t been fun for a long time with drugs and alcohol. All of that stopped working a long time ago. It was just me maintaining this thing that really didn’t make any sense. It was just all I knew. Pretty cliche. But I thought that’s how you did it; I didn’t know there was another way.

So why now?

A friend of mine from Milwaukee noticed us on a playlist and getting a bunch of plays on Spotify and he talked me into looking at the record. I remember listening to it and thinking, “We should just put it out. If people are interested, awesome. If they’re not, it’s not going to ultimately matter” (laughs). Why not just put it out for the world? Once we did that, we polished them up and put a couple singles out and got some reaction. Just felt like the next thing. I’m really excited about it, cause I’m loving the lineup I have. I didn’t think I was going to want to revisit some of the songs, you know… But it’s a lot of fun.

The album does sound like it comes from a pretty rocky place, to say the least.

Yeah, it’s strange. I listen to it now and it’s stuff I didn’t know I was facing at the time. I was documenting my downfall… There’s even language in it that I use now in recovery in those songs and I don’t know where that came from. It really is like art imitating life. I feel like something out there in the universe was telling me that I’d had enough and I needed some help. I wasn’t ready at the time to face that, but somehow I was able to document some of it. I wasn’t brave enough to admit that to anyone out loud, but I was brave enough to put it in song. At the time, I was truly afraid of everything. I couldn’t face the day without some kind of chemical crutch. I was afraid of failure and afraid of people around me — them realizing that I really had a problem and what life would look like if I had to actually do something about the problem. Afraid of change. Afraid of it all.

Any glaring examples of that language you mentioned?

In “All That Remains” there’s a line about being afraid of it all: “I don’t know what I am/But I know what I’m not.” Further on into that song: “If you leave me on the mountain / There’s only one way down / That’s my answer.” I don’t know if I knew what I was talking about at the time, but that seemed to be the only answer, to kill myself. I didn’t know how to live life like that anymore, but I didn’t know how to do anything else. Later on, in “Can’t Do Right,”... That song is just chronicling the feeling of trying to do right and just keep failing. Trying to live a life I think my parents wanted for me, that some higher power wanted for me. I just wasn’t able to do it; I tried and I failed. Then I tried and I failed. Just feeling lost out on a dirt road. That whole Robert Johnson thing with the crossroad, like I accidentally sold my soul to the devil or something a long time ago.

Since you’ve been in Nashville, you’ve been playing in your new project, Elijah Jones & the Tenderness. What was it like going back up stage after some time off?

The Tenderness project was just a way for me to continue to write, to continue to work. I put a band together for it, ‘cause playing on my own was just too terrifying. I remember our first show at the Springwater, which is a divey little bar in Nashville. I don’t even remember the first two songs. I felt like my voice was shaking the entire time, my hands were shaking. By the third song, it was like, “Okay, I’m good. This is what I like to do.” I remembered what I liked about playing live again. All that fear just went away, and I had a blast. I think that’s what’s changed the most; I don’t really care about being successful. I don’t even know what that is, honestly. The part that I love is writing songs and playing them live for people. The rest of it is just… static.

What is life like for you now in Nashville and in your recovery?

Life is still hard (laughs). You know? I still feel sad and isolated and alone, sometimes, but I have people in my life who care about me and I have a good support system. I have a great relationship with my family. Those things that are most important for me are the things I forgot about when I was in full-on Constellations mode. So things are okay, they’re alright today. There’s ups and downs, but I can live with all of it today. I don’t have to self-destruct anymore over the littlest bumps in the road. -CL-

The Constellations play Aisle 5 on Sat., March 30. With PLS PLS. $15. 9 p.m. 1123 Euclid Ave. N.E. www.aisle5atl.com.    Blake Davis KING OF THE GUTTER: Elijah Jones of the Constellations.                                   The Constellations return with ‘King of the Gutter’ "
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Friday March 29, 2019 11:33 am EDT
Elijah Jones releases album five years after its conception | more...
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Thursday January 4, 2018 09:34 am EST
The annual local music gathering brings Sister Sai, Goldyard, Beije, and more to 529 and the Earl | more...
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Lyonnais debuted in 2011, with the Want For Wish For Nowhere LP (Hoss), exploring the gray area between post-punk and industrial-grade drone rock. Since then, the group's second LP Anatomy of the Image (Geographic North) elevated the group to rise above and beyond Atlanta's ever-changing post-punk scene. Entire years have gone between shows, though, as Lee Tesche (guitars, also of Algiers), Farbod Kokabi (guitar, vocals), TJ Blake (drums, also of Lotus Plaza), and, Farzad Moghaddam (bass, synths) are spread out between different cities throughout the United States and Europe.

Anatomy of the Image, which received CL's 2016 critics pick for album of the year, boasts a cover of British group Section 25's "Friendly Fires." The song is a nod to Factory Records' under appreciated minimal dance music counterpart to Joy Division and the Durutti Column, uncovering new depth in the album's stark, sparse imagery. A full year after its arrival, the album is as potent as ever.

Opportunities to catch Lyonnais on stage are becoming increasingly rare. It's been nearly two years since the group last performed a show, so naturally, this one is not to be missed.

With Moon Diagrams and Pyramid Club. $10. 8:30 p.m. Thurs., Dec. 28 The Earl. 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com."
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{HTML} [https://www.facebook.com/lyonnaisband/|Lyonnais] debuted in 2011, with the Want For Wish For Nowhere LP (Hoss), exploring the gray area between post-punk and industrial-grade drone rock. Since then, the group's second LP Anatomy of the Image (Geographic North) elevated the group to rise above and beyond Atlanta's ever-changing post-punk scene. Entire years have gone between shows, though, as Lee Tesche (guitars, also of Algiers), Farbod Kokabi (guitar, vocals), TJ Blake (drums, also of Lotus Plaza), and, Farzad Moghaddam (bass, synths) are spread out between different cities throughout the United States and Europe. Anatomy of the Image, which received CL's 2016 critics pick for album of the year, boasts a cover of British group Section 25's "Friendly Fires." The song is a nod to Factory Records' under appreciated minimal dance music counterpart to Joy Division and the Durutti Column, uncovering new depth in the album's stark, sparse imagery. 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Since then, the group's second LP Anatomy of the Image (Geographic North) elevated the group to rise above and beyond Atlanta's ever-changing post-punk scene. Entire years have gone between shows, though, as Lee Tesche (guitars, also of Algiers), Farbod Kokabi (guitar, vocals), TJ Blake (drums, also of Lotus Plaza), and, Farzad Moghaddam (bass, synths) are spread out between different cities throughout the United States and Europe. Anatomy of the Image, which received CL's 2016 critics pick for album of the year, boasts a cover of British group Section 25's "Friendly Fires." The song is a nod to Factory Records' under appreciated minimal dance music counterpart to Joy Division and the Durutti Column, uncovering new depth in the album's stark, sparse imagery. A full year after its arrival, the album is as potent as ever. Opportunities to catch Lyonnais on stage are becoming increasingly rare. It's been nearly two years since the group last performed a show, so naturally, this one is not to be missed. With Moon Diagrams and Pyramid Club. $10. 8:30 p.m. Thurs., Dec. 28 The Earl. 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com. Courtesy Lyonnais ANATOMY OF THE IMAGE: Lyonnais returns to the stage after nearly two years. 20987115 http://dev.creativeloafing.com/image/2017/12/Lyonnais.5a4509ddf38da.png Lyonnais plays its first show in nearly two years " ["score"]=> float(0) ["_index"]=> string(21) "atlantawiki_tiki_main" ["objectlink"]=> string(231) "Lyonnais plays its first show in nearly two years" ["photos"]=> string(143) "Lyonnais.5a4509c41c0e4 " ["desc"]=> string(104) "The long-standing post-punk provocateurs play songs from 2016's 'Anatomy of the Image' and more" ["eventDate"]=> string(104) "The long-standing post-punk provocateurs play songs from 2016's 'Anatomy of the Image' and more" ["noads"]=> string(10) "y" }

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Thursday December 28, 2017 02:59 pm EST
The long-standing post-punk provocateurs play songs from 2016's 'Anatomy of the Image' and more | more...
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In a sociopolitical climate where ambivalence is perceived as offensive, and many have retreated into silent complacency, Atlanta trap newcomer Nikos has a voice, and he isn't afraid to use it. The Houston native debuted with last month's Flames mixtape (Free World International/Defend Society), and is prepping for the release of his first album Illegal Civilization, due out Fri., Jan. 19. ... And it's no coincidence that it's dropping the day before Donald Trump marks his first year in the Oval Office.

The album's first single, "100M," is an insidious glimpse in to what Nikos has in store with Illegal Civilization. The foreboding track creeps along with heavy beats as Niko raps in a steady, baleful tone.


"Ignorance is Bliss," the latest single from Cosmic Trigger, takes on a more subtle tone when taking aim at American complacency. Cosmic Trigger is the solo electronic music moniker for Gage Gilmore, who debuted the project with his 2016 self-titled LP.

"Ignorance is Bliss" arrived Dec. 7, in advance of Gilmore's upcoming second album, Curse of the Oval Room, due out in March. Here, flickering synths glide over a blissful 140 BPMs, keeping the tone light, and, well, blissful.


New wave and R&B duo Suede Cassidy tapped Something to Say Productions to create a video for its latest single, "Lovecraft." The sounds on display here are smooth and collected as members Ian Boyd and Jeremiah Percival ruminate over, love, mind games, and the pangs of rejection.

You know that feeling? Like when someone is standing over you and beating your chest with a meat tenderizer as if your heart is a raw piece of steak? Rejection is part of life, but it doesn't seem to get easier. The lyrics are delivered with calm acceptance, but the hook and beats suggest otherwise, taking the tone up a notch and getting down to the real pain of it all as the song nears its conclusion. Suede Cassidy keeps it cool, though. And life carries on.

With Superbody, Bbymutha, Mannequin Lover, TJ Pompous. Fri., Jan. 5. $7. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com.


Guitarist and St. Louis, Missouri, transplant Alex Lotito relocated to Atlanta earlier this year, bringing his own version of suburban soul and blues in his new band the Titos. Lotito's project started off with a gritty, lo-fi first single "Fifteen Steps and Draw." Now, the Titos have found their footing by settling in with a lineup that features Lotito on guitar and vocals, Ian Mastrogiacamo on bass, Daniel Kirslis on organ, and Zack Falls on drums.

The group is anticipating the release of its debut EP in January. Today, CL premieres the group's latest single, "I Don't Wanna Be Alone." It's straight-ahead Southern blues and soul, the kind you've heard before, and they do it pretty well: raspy vocals, smooth arpeggiated guitar riffs, and steady drums. The Titos bring back that wonky organ sound and create a full-bodied blues racket that leaves plenty of room for the guitar and bass to riff and slide as Lotito sings about the pains of loneliness.

With the Rotten Mangos, Satisfiers of Alpha Blue. Tues., Jan. 30. $7-$10. 8 p.m. Red Light Cafe, 553-1 Amsterdam Ave. N.E. 404-874-7828. www.redlightcafe.com.

Send upcoming tracks, new release information, and all other inquiries to creativeloafingNMM@gmail.com.

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New cuts from Nikos, Suede Cassidy, Cosmic Trigger, and the Titos | more...
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In a sociopolitical climate where ambivalence is perceived as offensive, and many have retreated into silent complacency, Atlanta trap newcomer Nikos has a voice, and he isn't afraid to use it. The Houston native debuted with last month's Flames mixtape (Free World International/Defend Society), and is prepping for the release of his first album Illegal Civilization, due out Fri., Jan. 19. ... And it's no coincidence that it's dropping the day before Donald Trump marks his first year in the Oval Office.

The album's first single, "100M," is an insidious glimpse in to what Nikos has in store with Illegal Civilization. The foreboding track creeps along with heavy beats as Niko raps in a steady, baleful tone.




"Ignorance is Bliss," the latest single from Cosmic Trigger, takes on a more subtle tone when taking aim at American complacency. Cosmic Trigger is the solo electronic music moniker for Gage Gilmore, who debuted the project with his 2016 self-titled LP.

"Ignorance is Bliss" arrived Dec. 7, in advance of Gilmore's upcoming second album, Curse of the Oval Room, due out in March. Here, flickering synths glide over a blissful 140 BPMs, keeping the tone light, and, well, blissful.



New wave and R&B duo Suede Cassidy tapped Something to Say Productions to create a video for its latest single, "Lovecraft." The sounds on display here are smooth and collected as members Ian Boyd and Jeremiah Percival ruminate over, love, mind games, and the pangs of rejection.

You know that feeling? Like when someone is standing over you and beating your chest with a meat tenderizer as if your heart is a raw piece of steak? Rejection is part of life, but it doesn't seem to get easier. The lyrics are delivered with calm acceptance, but the hook and beats suggest otherwise, taking the tone up a notch and getting down to the real pain of it all as the song nears its conclusion. Suede Cassidy keeps it cool, though. And life carries on.

With Superbody, Bbymutha, Mannequin Lover, TJ Pompous. Fri., Jan. 5. $7. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com.



Guitarist and St. Louis, Missouri, transplant Alex Lotito relocated to Atlanta earlier this year, bringing his own version of suburban soul and blues in his new band the Titos. Lotito's project started off with a gritty, lo-fi first single "Fifteen Steps and Draw." Now, the Titos have found their footing by settling in with a lineup that features Lotito on guitar and vocals, Ian Mastrogiacamo on bass, Daniel Kirslis on organ, and Zack Falls on drums.

The group is anticipating the release of its debut EP in January. Today, CL premieres the group's latest single, "I Don't Wanna Be Alone." It's straight-ahead Southern blues and soul, the kind you've heard before, and they do it pretty well: raspy vocals, smooth arpeggiated guitar riffs, and steady drums. The Titos bring back that wonky organ sound and create a full-bodied blues racket that leaves plenty of room for the guitar and bass to riff and slide as Lotito sings about the pains of loneliness.

With the Rotten Mangos, Satisfiers of Alpha Blue. Tues., Jan. 30. $7-$10. 8 p.m. Red Light Cafe, 553-1 Amsterdam Ave. N.E. 404-874-7828. www.redlightcafe.com.

Send upcoming tracks, new release information, and all other inquiries to creativeloafingNMM@gmail.com."
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In a sociopolitical climate where ambivalence is perceived as offensive, and many have retreated into silent complacency, Atlanta trap newcomer [http://www.trapriot.com/100M/|Nikos] has a voice, and he isn't afraid to use it. The Houston native debuted with last month's ''[https://soundcloud.com/freeworldnikos/sets/flames|Flames]'' mixtape (Free World International/[https://defendsociety.com/|Defend Society]), and is prepping for the release of his first album ''Illegal Civilization, ''due out __Fri., Jan. 19. __... And it's no coincidence that it's dropping the day before Donald Trump marks his first year in the Oval Office.

The album's first single, "[http://www.trapriot.com/100M/|100M]," is an insidious glimpse in to what Nikos has in store with ''Illegal Civilization''. The foreboding track creeps along with heavy beats as Niko raps in a steady, baleful tone.



{HTML()}{HTML}
"[https://gagegilmore.bandcamp.com/track/ignorance-is-bliss|Ignorance is Bliss]," the latest single from Cosmic Trigger, takes on a more subtle tone when taking aim at American complacency. Cosmic Trigger is the solo electronic music moniker for Gage Gilmore, who debuted the project with his 2016 ~~ ,#FFFFFF:[https://gagegilmore.bandcamp.com/album/cosmic-trigger|self-titled]~~''[https://gagegilmore.bandcamp.com/album/cosmic-trigger| ]''~~ ,#FFFFFF:[https://gagegilmore.bandcamp.com/album/cosmic-trigger|LP]~~.

"[https://gagegilmore.bandcamp.com/track/ignorance-is-bliss|Ignorance is Bliss]" arrived__ Dec. 7__, in advance of Gilmore's upcoming second album, ''Curse of the Oval Room'', due out in March. Here, flickering synths glide over a blissful 140 BPMs, keeping the tone light, and, well, blissful.


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New wave and R&B duo [https://www.facebook.com/Suede-Cassidy-119948684726253/|Suede Cassidy] tapped [https://www.facebook.com/pg/s2sfilm/about/?ref=page_internal|Something to Say Productions] to create a video for its latest single, "[https://soundcloud.com/suedecassidy/lovecraft|Lovecraft]." The sounds on display here are smooth and collected as members Ian Boyd and Jeremiah Percival ruminate over, love, mind games, and the pangs of rejection.

You know that feeling? Like when someone is standing over you and beating your chest with a meat tenderizer as if your heart is a raw piece of steak? Rejection is part of life, but it doesn't seem to get easier. The lyrics are delivered with calm acceptance, but the hook and beats suggest otherwise, taking the tone up a notch and getting down to the real pain of it all as the song nears its conclusion. Suede Cassidy keeps it cool, though. And life carries on.

''[https://local.creativeloafing.com/event-168099-Superbody,-Bbymutha,-Suede-Cassidy,-Mannequin-Lover,-TJ-Pompous|With Superbody, Bbymutha, Mannequin Lover, TJ Pompous. Fri., Jan. 5. $7. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com]''[https://local.creativeloafing.com/event-168099-Superbody,-Bbymutha,-Suede-Cassidy,-Mannequin-Lover,-TJ-Pompous|.]


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Guitarist and St. Louis, Missouri, transplant Alex Lotito relocated to Atlanta earlier this year, bringing his own version of suburban soul and blues in his new band [http://thetitos.bandcamp.com/|the Titos]. Lotito's project started off with a gritty, lo-fi first single "Fifteen Steps and Draw." Now, the Titos have found their footing by settling in with a lineup that features Lotito on guitar and vocals, Ian Mastrogiacamo on bass, Daniel Kirslis on organ, and Zack Falls on drums.

The group is anticipating the release of its debut EP in January. Today, ''CL'' premieres the group's latest single, "[https://thetitos.bandcamp.com/track/idwba-single|I Don't Wanna Be Alone]." It's straight-ahead Southern blues and soul, the kind you've heard before, and they do it pretty well: raspy vocals, smooth arpeggiated guitar riffs, and steady drums. The Titos bring back that wonky organ sound and create a full-bodied blues racket that leaves plenty of room for the guitar and bass to riff and slide as Lotito sings about the pains of loneliness.

''[https://local.creativeloafing.com/event-168062-The-Rotten-Mangos-w/-Satisfiers-of-Alpha-Blue- -The-Titos|With the Rotten Mangos, Satisfiers of Alpha Blue. Tues., Jan. 30. $7-$10. 8 p.m. Red Light Cafe, 553-1 Amsterdam Ave. N.E. 404-874-7828. www.redlightcafe.com.]''

''Send upcoming tracks, new release information, and all other inquiries to [mailto:creativeloafingNMM@gmail.com|creativeloafingNMM@gmail.com].''"
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  string(3774) "    New cuts from Nikos, Suede Cassidy, Cosmic Trigger, and the Titos   2017-12-18T20:18:00+00:00 NEW MUSIC MONDAY: Another round of Atlanta's freshest sounds - December 18, 2017   Aja Arnold  2017-12-18T20:18:00+00:00  
In a sociopolitical climate where ambivalence is perceived as offensive, and many have retreated into silent complacency, Atlanta trap newcomer Nikos has a voice, and he isn't afraid to use it. The Houston native debuted with last month's Flames mixtape (Free World International/Defend Society), and is prepping for the release of his first album Illegal Civilization, due out Fri., Jan. 19. ... And it's no coincidence that it's dropping the day before Donald Trump marks his first year in the Oval Office.

The album's first single, "100M," is an insidious glimpse in to what Nikos has in store with Illegal Civilization. The foreboding track creeps along with heavy beats as Niko raps in a steady, baleful tone.




"Ignorance is Bliss," the latest single from Cosmic Trigger, takes on a more subtle tone when taking aim at American complacency. Cosmic Trigger is the solo electronic music moniker for Gage Gilmore, who debuted the project with his 2016 self-titled LP.

"Ignorance is Bliss" arrived Dec. 7, in advance of Gilmore's upcoming second album, Curse of the Oval Room, due out in March. Here, flickering synths glide over a blissful 140 BPMs, keeping the tone light, and, well, blissful.



New wave and R&B duo Suede Cassidy tapped Something to Say Productions to create a video for its latest single, "Lovecraft." The sounds on display here are smooth and collected as members Ian Boyd and Jeremiah Percival ruminate over, love, mind games, and the pangs of rejection.

You know that feeling? Like when someone is standing over you and beating your chest with a meat tenderizer as if your heart is a raw piece of steak? Rejection is part of life, but it doesn't seem to get easier. The lyrics are delivered with calm acceptance, but the hook and beats suggest otherwise, taking the tone up a notch and getting down to the real pain of it all as the song nears its conclusion. Suede Cassidy keeps it cool, though. And life carries on.

With Superbody, Bbymutha, Mannequin Lover, TJ Pompous. Fri., Jan. 5. $7. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com.



Guitarist and St. Louis, Missouri, transplant Alex Lotito relocated to Atlanta earlier this year, bringing his own version of suburban soul and blues in his new band the Titos. Lotito's project started off with a gritty, lo-fi first single "Fifteen Steps and Draw." Now, the Titos have found their footing by settling in with a lineup that features Lotito on guitar and vocals, Ian Mastrogiacamo on bass, Daniel Kirslis on organ, and Zack Falls on drums.

The group is anticipating the release of its debut EP in January. Today, CL premieres the group's latest single, "I Don't Wanna Be Alone." It's straight-ahead Southern blues and soul, the kind you've heard before, and they do it pretty well: raspy vocals, smooth arpeggiated guitar riffs, and steady drums. The Titos bring back that wonky organ sound and create a full-bodied blues racket that leaves plenty of room for the guitar and bass to riff and slide as Lotito sings about the pains of loneliness.

With the Rotten Mangos, Satisfiers of Alpha Blue. Tues., Jan. 30. $7-$10. 8 p.m. Red Light Cafe, 553-1 Amsterdam Ave. N.E. 404-874-7828. www.redlightcafe.com.

Send upcoming tracks, new release information, and all other inquiries to creativeloafingNMM@gmail.com.             20986304         http://dev.creativeloafing.com/image/2017/12/Nikos.5a380f3cc9fd6.png                  NEW MUSIC MONDAY: Another round of Atlanta's freshest sounds - December 18, 2017 "
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Article

Monday December 18, 2017 03:18 pm EST
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