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The Sheepdogs are changing things up on July 24 at the Earl

Wait no longer to slip into the Southern dreams of these Canadian rockers

Photo (7)
Photo credit: Mat Dunlap
FEELING GOOD: Five rodeo-ready Saskatonians pose under the changing colours of a twilight sky

A sheepdog is the kind of companion everyone needs, a friend to watch over you and always have your back. Meet your musical guardian angels, the Sheepdogs, loyal comrades of both ’70s metalheads and fireside folk singers. From first listen, you’d never guess that their riff-heavy rock and Americana harmonies are rooted in the land of maple leaves and ham disguised as bacon. These Saskatchewan guys are Allman Brothers fans who compose anthemic choruses with bluesy, retro-rock influences. Their sixth full-length, Changing Colours, lives up to the name by drawing on the band’s psychedelic side and tossing in dashes of clarinet, Latin percussion, brass sections, and organ. Come see these Canadians give the South a taste of its own medicine.

With Brent Cowles. $15-$18. 8 p.m.(doors). Tues., July 24. The Earl, 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.



More By This Writer

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In 2008, she released her first studio recording, Adron, followed by 2011’s Organismo. Her third full-length, Water Music, which has been long-awaited by ATLiens and other earthlings alike, drops August 17 via Tribo Records. After years of recording, scrutinizing, and rerecording, Adron is ready to make her grand reveal. “I wanted it to be a really powerful release,” she says. “It’s a powerful record, I think. We put so much work into it, and I wanted the release to be worthy of all of that work … I’m just excited to share all of it.”



In “Be Like the Sea,” one of the two singles released from Water Music, Adron takes command with ease. This shoulder-swaying tune, cradled by her sostenuto notes, beams with pastel light. “Your Habitat” leaps off a high-dive, echoing with muffled bells, into a chilled pool of dreamy jazz inflections. The album’s personnel hosts a who’s who of longstanding Atlanta music MVPs including percussion by Colin Agnew, keyboards by Chris Case, Rhett Huffman, and Martin Kearns, bass by Ryan Donald, Rob Henson, Robby Handley and Khari Simmons, electric guitar by Rick Lollar, vibraphone by Kevin Leahy, saxophone, contrabass clarinet by Taylor Kennedy, trumpet by Clark Hunt, and vocals by Adam Hoffman, Matt Lipkins, and Scott Schwartz of the Shadowboxers.



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Like a smoothly gliding sailboat, her momentum is definitely back, with a natural flow. For a lady with such a fearless voice and a distinctive musical style, Adron admits she doesn’t have much of a process when composing a new song. “It always feels like an accident”, she says. “It’s always like, ‘Oops! I wrote a song!’”

She chooses her words humbly and honestly, and the steady movement of her music is no accident. She revels in a luscious note, and takes a full breath along the way, never wasting a single moment. This is how she lives day to day, even when she’s not performing or working on a new song. She explores hobbies at her leisure but likes to be productive at the same time.

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Even with this, Adron’s gaze rests upon music.

“More than anything in the entire universe I love singing,” she says. “That’s my number one favorite feeling in the whole world. Everything else is just an excuse to sing. But I love language and traveling and art and video games and food and sex and sleeping. Everything is in service of music for me.”

Adron just wants to connect, with all sorts of people, places, and things. As she and her music have matured, she confesses it feels good to realize that she doesn’t have to be everything. She’s found her voice, and that passion alone has begun a fantastical, immersive, and infinite dialogue.

With Pip the Pansy. $11-$13. 8 p.m. (doors). Thurs., Aug. 23. Terminal West, 887 West Marietta St. N.W. Studio C. 404-876-5566. www.terminalwestatll.com."
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The 30-year-old singer, born Adrienne McCann, is fascinated with languages and the challenge of communicating stories through song. Aside from some high school classes, Adron taught herself French, Spanish, and Portuguese, all of which she stitches into her lyrics. She experiments with languages like they’re different instruments, in addition to strumming her nylon guitar strings and breathing life into easy-listening percussion.

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“I want to create a sense of supernatural place: An ultra-realized and ultra-beautiful environment,” she says. “I also want my listeners to feel a sense of possibility because I have so many more songs I’m getting ready to share with people. I want it to feel like my momentum is back.”

Like a smoothly gliding sailboat, her momentum is definitely back, with a natural flow. For a lady with such a fearless voice and a distinctive musical style, Adron admits she doesn’t have much of a process when composing a new song. “It always feels like an accident”, she says. “It’s always like, ‘Oops! I wrote a song!’”

She chooses her words humbly and honestly, and the steady movement of her music is no accident. She revels in a luscious note, and takes a full breath along the way, never wasting a single moment. This is how she lives day to day, even when she’s not performing or working on a new song. She explores hobbies at her leisure but likes to be productive at the same time.

“One thing I really like to do is download really nostalgic RPG video games in different languages and play them in French or Spanish or whatever for practice,” Adron says. “That’s a pretty groovy little hobby I have.”

Even with this, Adron’s gaze rests upon music.

“More than anything in the entire universe I love singing,” she says. “That’s my number one favorite feeling in the whole world. Everything else is just an excuse to sing. But I love language and traveling and art and video games and food and sex and sleeping. Everything is in service of music for me.”

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The 30-year-old singer, born Adrienne McCann, is fascinated with languages and the challenge of communicating stories through song. Aside from some high school classes, Adron taught herself French, Spanish, and Portuguese, all of which she stitches into her lyrics. She experiments with languages like they’re different instruments, in addition to strumming her nylon guitar strings and breathing life into easy-listening percussion.

In 2008, she released her first studio recording, Adron, followed by 2011’s Organismo. Her third full-length, Water Music, which has been long-awaited by ATLiens and other earthlings alike, drops August 17 via Tribo Records. After years of recording, scrutinizing, and rerecording, Adron is ready to make her grand reveal. “I wanted it to be a really powerful release,” she says. “It’s a powerful record, I think. We put so much work into it, and I wanted the release to be worthy of all of that work … I’m just excited to share all of it.”



In “Be Like the Sea,” one of the two singles released from Water Music, Adron takes command with ease. This shoulder-swaying tune, cradled by her sostenuto notes, beams with pastel light. “Your Habitat” leaps off a high-dive, echoing with muffled bells, into a chilled pool of dreamy jazz inflections. The album’s personnel hosts a who’s who of longstanding Atlanta music MVPs including percussion by Colin Agnew, keyboards by Chris Case, Rhett Huffman, and Martin Kearns, bass by Ryan Donald, Rob Henson, Robby Handley and Khari Simmons, electric guitar by Rick Lollar, vibraphone by Kevin Leahy, saxophone, contrabass clarinet by Taylor Kennedy, trumpet by Clark Hunt, and vocals by Adam Hoffman, Matt Lipkins, and Scott Schwartz of the Shadowboxers.



Adron’s songwriting builds on ’70s soul and R&B, ’80s contemporary pop, psych rock, and Brazilian jazz to create her own inspired sound. Among the musicians who have influenced her work most are Luiz Bonfá, Caetano Veloso, and the Beatles, all of which harness a quality that transports listeners back to the past. Adron follows this same musical flight path, stopping off to refuel at a tiki bar in a galaxy far, far away.

“I want to create a sense of supernatural place: An ultra-realized and ultra-beautiful environment,” she says. “I also want my listeners to feel a sense of possibility because I have so many more songs I’m getting ready to share with people. I want it to feel like my momentum is back.”

Like a smoothly gliding sailboat, her momentum is definitely back, with a natural flow. For a lady with such a fearless voice and a distinctive musical style, Adron admits she doesn’t have much of a process when composing a new song. “It always feels like an accident”, she says. “It’s always like, ‘Oops! I wrote a song!’”

She chooses her words humbly and honestly, and the steady movement of her music is no accident. She revels in a luscious note, and takes a full breath along the way, never wasting a single moment. This is how she lives day to day, even when she’s not performing or working on a new song. She explores hobbies at her leisure but likes to be productive at the same time.

“One thing I really like to do is download really nostalgic RPG video games in different languages and play them in French or Spanish or whatever for practice,” Adron says. “That’s a pretty groovy little hobby I have.”

Even with this, Adron’s gaze rests upon music.

“More than anything in the entire universe I love singing,” she says. “That’s my number one favorite feeling in the whole world. Everything else is just an excuse to sing. But I love language and traveling and art and video games and food and sex and sleeping. Everything is in service of music for me.”

Adron just wants to connect, with all sorts of people, places, and things. As she and her music have matured, she confesses it feels good to realize that she doesn’t have to be everything. She’s found her voice, and that passion alone has begun a fantastical, immersive, and infinite dialogue.

With Pip the Pansy. $11-$13. 8 p.m. (doors). Thurs., Aug. 23. Terminal West, 887 West Marietta St. N.W. Studio C. 404-876-5566. www.terminalwestatll.com.    Charles Mitchell IN ALL LANGUAGES: “I want to create a sense of supernatural place: An ultra-realized and ultra-beautiful environment.” — Adron  0,0,10                                 Adron sings again! "
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Article

Thursday August 23, 2018 12:15 am EDT
The tropicália songstress surfs a new tide with ‘Water Music’ | more...
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Monday August 6, 2018 03:30 pm EDT
Dance the night away to cumbia house jams | more...
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Article

Thursday August 2, 2018 12:30 am EDT
The jazz-rock outfit celebrates 35 years of moving to the groove | more...
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  string(1444) " Ice Cream Festival  2018-07-26T18:02:11+00:00 Ice Cream Festival.jpeg     Have a taste of good old-fashioned family fun all day at Piedmont Park on July 28 7717  2018-07-28T09:00:00+00:00 SEE & DO: 8th Atlanta Ice Cream Festival laureneleathers@gmail.com Lauren Leathers Lily Guthrie   2018-07-28T09:00:00+00:00  With a yoga session, fitness routines, and traditional Chinese exercises, you can have your ice cream and eat it too, guilt-free. This annual celebration not only honors America’s favorite frozen dessert, but it also promotes physical wellness and hosts activities on how to lead a balanced lifestyle. To kick off the day, festival goers will march through the park for the 3rd Annual Leah Dortch Fight Cancer Walk, a 5K that’s good for both the heart and the mind. Afterward, enjoy an array of activities such as double-dutch routines, hula-hoop competitions, and a frisbee toss. Watch chefs from Atlanta’s Young Chefs Institute demonstrate how to make art with food, and if you’re really hungry, enter the ice cream eating competition. Check out this frosty festival with friends and family of all ages before it melts away.

Free.11 a.m.-6 p.m. Sat., July 28. Piedmont Park, 10th St. N.E. and Charles Allen Dr. www.atlantaicecreamfestival.com.    Melisa Fox I SCREAM, YOU SCREAM: The possibilities are endless with a chocolate dipping sauce.                                   SEE & DO: 8th Atlanta Ice Cream Festival "
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Article

Saturday July 28, 2018 05:00 am EDT
Have a taste of good old-fashioned family fun all day at Piedmont Park on July 28 | more...
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  ["title"]=>
  string(39) "Local music and other Irrelevant things"
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  string(32) "chad.radford@creativeloafing.com"
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  ["tracker_field_contentByline"]=>
  string(75) "Will Cardwell, Lily Guthrie, Bobby Power, Chad Radford, and Annika Von Grey"
  ["tracker_field_contentByline_exact"]=>
  string(75) "Will Cardwell, Lily Guthrie, Bobby Power, Chad Radford, and Annika Von Grey"
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  ["tracker_field_description"]=>
  string(75) "Kyle Swick’s annual music fest places Atlanta D.I.Y. in a larger context "
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  string(79) "__Kyle Swick’s annual music fest places Atlanta D.I.Y. in a larger context __"
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  string(25) "2018-07-19T10:15:00+00:00"
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  string(206) "Irrelevant Music Fest returns to @529_EAV and the Bakery July 18-22 w/ performances by Pylon Reenactment Society (@Pylongirl), #Dasher, @rosehotelmusic, #Cube @ArborLaborUnion, #Material Girls #AtlantaMusic"
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  string(206) "Irrelevant Music Fest returns to @529_EAV and the Bakery July 18-22 w/ performances by Pylon Reenactment Society (@Pylongirl), #Dasher, @rosehotelmusic, #Cube @ArborLaborUnion, #Material Girls #AtlantaMusic"
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  string(7309) "Irrelevant Music Festival was born in 2016, as an outlet serving Atlanta’s underground music scene. “I started the festival as a way to celebrate Atlanta’s art and the kind and dedicated people that put in countless hours to make said art a reality for our city,” says founder and Irrelevant Music promoter Kyle Swick. “I was inspired by festivals like Cropped Out in Louisville, and Nameless Fest in Nashville, as each one offers platforms for local and regional musicians that are easily overlooked by the masses.”

Over the last three years, Irrelevant Fest has grown from a grass-roots event into a beacon for touring acts, with a lineup that places nationally and internationally touring artists on the same playing field as young Atlanta-based acts. Irrelevant Fest’s bottom line is about showcasing homegrown talent. This growing dynamic anchors the Atlanta music scene’s place in both a regional and national context. “We do this festival because we believe that Atlanta has one of the most diverse and unique voices in the country,” Swick says. “It is our personal mission to spread the word and make sure people are witness to this time of music from the South.”

This year, Irrelevant Fest happens July 18-22, taking over 529 in East Atlanta, and the Bakery in Adair Park/Oakland City, with nearly 50 acts. Before the festival kicks off, CL’s music scribes have pulled together a list of 10 must-see acts scheduled to perform throughout the week.


Few groups creating indie rock in the post-emo context tap into the raw passion and earnest sentiments that Blis. evokes. Each lyrical bar drips with tangible melancholy, And the instrumentation, which lies at an unexpected intersection of grunge and polished, modern rock production, accentuates the vocals while each song stands its ground. The group’s latest release, No One Loves You (Sargent House), showcases the group’s broad range of emotions and musical style.
— Will Cardwell

 


Arbor Labor Union crafts a sonically charged and picturesque canvas to explore. Original and catchy melodies serve as the building blocks for this imagined landscape, cemented by solid rhythms that put the finishing touches on a lush audio portrait. When the music is married with the vocals, the group’s sound evokes an almost mystical quality. This union is in full force on the band’s latest EP ALU’s Blues as well as its 2016 Sub Pop Records debut album, I Hear You.
— WC

 


When Rose Hotel’s singer and guitarist Jordan Reynolds’ tremulous voice takes shape amid a backdrop of swirling guitars and subtle pads, the result is undeniably dreamy. Softness reigns supreme in Rose Hotel’s world, and one can’t help but feel nostalgic and tender in response. The group has reimagined and rereleased two tracks from its 2017 EP Always a Good Reason, incorporating a full-band’s sonic aesthetic reminiscent of a sweetly sleepy combination of Jenny Lewis and Lana Del Rey.
— Annika Von Grey

 


Once the five post-punkers of Material Girls throw horns into the mix of shredding guitars and scathing vocals, you won’t know what hit you — except maybe some lipstick. Material Girls’ headlining performance at Irrelevant Music Fest is also the release party for the group’s debut LP, Leather, out July 6 via Irrelevant Music in the US and EXAG’ Records in Europe.
—  Lily Guthrie

 


Night Cleaner is the solo project of singer, guitarist, and songwriter Matthew Lambert. As one-third of the blistering psych rock trio All the Saints, Lambert maintains a spectral presence within the local music scene. Sometimes entire years have gone by between ATS shows, but they’re such powerful displays of rich sonic force that people at the bar are still talking about it. With Night Cleaner, Lambert takes on a more open-ended approach to songwriting, harnessing the power of a dark and noisy resonance to ramshackle melodies emanating from an arsenal of guitars, Rhodes, MPC, and more.
— Chad Radford

 


Pylon Reenactment Society pays dutiful homage to days past while forging ahead with newfound vigor. Vanessa Briscoe Hay’s voice maintains the post-punk and proto new wave gusto of Pylon’s original configuration. The band is currently in the studio recording and mastering new material under the guidance of guitarist Jason NeSmith, with a new single, the follow-up to 2017’s Part Time Punks Session 12-inch, planned for release later this year.
— AVG

 


Yukons channel their chiming and laidback post-punk and Latinx expressions through a lo-fi cacophony and shoegaze hymns. The trio, featuring singer and guitarist José Joaquín Izaguirre, drummer Danielle Dollar, and bass player Hannah Lenkey, released their debut tape, South of the Equator, in the spring. Since then, songs such as “Pa’ Lante,” “Toolbox (the way she thinks),” and “Abajo Cadenes” — sung in Spanish — have left an indelible mark on Atlanta’s contemporary indie rock scene.
— LG

 


HOGG crafts pure and screaming industrial hellscapes and confrontational blasts of pounding rhythms and grinding resonance under the command of Emma Sims and Hanna Elliott. Both Sims and Elliott are Atlanta expats who’ve developed their brooding musical aesthetic on Chicago’s West Side. In May, the group released its latest album, Self​-​Extinguishing Emission via Scrapes Recordings. With this latest offering, Sims and Elliott delve deeper into honing the power of their voices amid a perfectly horrifying clatter, culminating in a body of songs that are part catharsis and part freak-out, driven by a complete and utter contempt for polite society.
— CR

 


Dasher employs heavy and frantic noise-punk that, true to the group’s name, sprints forward while commanding its own space. Anchored by Kylee Kimbrough’s aggressive percussion and blistering rhythms, the group constructs a harsh and manic swarm of all-consuming sound. Dasher’s sound is powerful, busy, and staggering, with any chance of escape barred by Kimbrough’s guttural howling. Though Kimbrough left Atlanta for Bloomington, Indiana, years ago, her absence still resonates throughout the local music scene. Every homecoming is a blowout of the highest order, and her Irrelevant Music Fest return is guaranteed to be one for the history books.
— WC

 


CUBE is the moniker of Oakland, California-based producer Adam Keith. Keith spent a few of his early- and mid-aughts years in Atlanta’s experimental music scene performing with defunct no wave outfit Big and Tall. As CUBE, he blurs the lines between industrial music, techno, noise, and dub, with a thoroughly avant-garde slant. Released via San Francisco-based label Left Hand Path, Keith’s 2016 release, titled My Cube, is an essential listen for anyone who’s still singing the praises of Throbbing Gristle, Suicide, Merzbow, et al. Keith brings their influence into a modern context by way of jaw-dropping loop-and-drum-machine worship, morbid mantras, and esoteric sound collages that culminate in a seriously next-level approach to modern experimental music.
— Bobby Power



For more information including time, price, and venue details, check out www.irrelevantmusic.net."
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~~#000000:Over the last three years, Irrelevant Fest has grown from a grass-roots event into a beacon for touring acts, with a lineup that places nationally and internationally touring artists on the same playing field as young Atlanta-based acts. Irrelevant Fest’s bottom line is about showcasing homegrown talent. This growing dynamic anchors the Atlanta music scene’s place in both a regional and national context. “We do this festival because we believe that Atlanta has one of the most diverse and unique voices in the country,” Swick says. “It is our personal mission to spread the word and make sure people are witness to this time of music from the South.”~~

~~#000000:This year, Irrelevant Fest happens __July 18-22__, taking over 529 in East Atlanta, and the Bakery in Adair Park/Oakland City, with nearly 50 acts. Before the festival kicks off, CL’s music scribes have pulled together a list of 10 must-see acts scheduled to perform throughout the week.~~

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~~#000000:Few groups creating indie rock in the post-emo context tap into the raw passion and earnest sentiments that Blis. evokes. Each lyrical bar drips with tangible melancholy, And the instrumentation, which lies at an unexpected intersection of grunge and polished, modern rock production, accentuates the vocals while each song stands its ground. The group’s latest release, No One Loves You (Sargent House), showcases the group’s broad range of emotions and musical style.~~
__~~#000000:— Will Cardwell~~__
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~~#000000:__Arbor Labor Union__ crafts a sonically charged and picturesque canvas to explore. Original and catchy melodies serve as the building blocks for this imagined landscape, cemented by solid rhythms that put the finishing touches on a lush audio portrait. When the music is married with the vocals, the group’s sound evokes an almost mystical quality. This union is in full force on the band’s latest EP ''ALU’s Blues'' as well as its 2016 Sub Pop Records debut album, ''I Hear You''.~~
~~#000000:— WC~~
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~~#000000:When __Rose Hotel__’s singer and guitarist Jordan Reynolds’ tremulous voice takes shape amid a backdrop of swirling guitars and subtle pads, the result is undeniably dreamy. Softness reigns supreme in Rose Hotel’s world, and one can’t help but feel nostalgic and tender in response. The group has reimagined and rereleased two tracks from its 2017 EP ''Always a Good Reason'', incorporating a full-band’s sonic aesthetic reminiscent of a sweetly sleepy combination of Jenny Lewis and Lana Del Rey~~~~#000000:.~~
~~#000000:— Annika Von Grey~~
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~~#000000:Once the five post-punkers of Material Girls throw horns into the mix of shredding guitars and scathing vocals, you won’t know what hit you — except maybe some lipstick. Material Girls’ headlining performance at Irrelevant Music Fest is also the release party for the group’s debut LP, ''Leather'', out July 6 via Irrelevant Music in the US and EXAG’ Records in Europe~~~~#000000:.~~
~~#000000:—  Lily Guthrie~~
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~~#000000:__Night Cleaner__ is the solo project of singer, guitarist, and songwriter Matthew Lambert. As one-third of the blistering psych rock trio All the Saints, Lambert maintains a spectral presence within the local music scene. Sometimes entire years have gone by between ATS shows, but they’re such powerful displays of rich sonic force that people at the bar are still talking about it. With Night Cleaner, Lambert takes on a more open-ended approach to songwriting, harnessing the power of a dark and noisy resonance to ramshackle melodies emanating from an arsenal of guitars, Rhodes, MPC, and more~~~~#000000:.~~
~~#000000:— Chad Radford~~
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~~#000000:__Pylon Reenactment Society__ pays dutiful homage to days past while forging ahead with newfound vigor. Vanessa Briscoe Hay’s voice maintains the post-punk and proto new wave gusto of Pylon’s original configuration. The band is currently in the studio recording and mastering new material under the guidance of guitarist Jason NeSmith, with a new single, the follow-up to 2017’s ''Part Time Punks Session'' 12-inch, planned for release later this year~~~~#000000:.~~
~~#000000:— AVG~~
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~~#000000:__Yukons__ channel their chiming and laidback post-punk and Latinx expressions through a lo-fi cacophony and shoegaze hymns. The trio, featuring singer and guitarist José Joaquín Izaguirre, drummer Danielle Dollar, and bass player Hannah Lenkey, released their debut tape, South of the Equator, in the spring. Since then, songs such as “Pa’ Lante,” “Toolbox (the way she thinks),” and “Abajo Cadenes” — sung in Spanish — have left an indelible mark on Atlanta’s contemporary indie rock scene~~~~#000000:.~~
~~#000000:— LG~~
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~~#000000:__HOGG__ crafts pure and screaming industrial hellscapes and confrontational blasts of pounding rhythms and grinding resonance under the command of Emma Sims and Hanna Elliott. Both Sims and Elliott are Atlanta expats who’ve developed their brooding musical aesthetic on Chicago’s West Side. In May, the group released its latest album, ''Self​-​Extinguishing Emission'' via Scrapes Recordings. With this latest offering, Sims and Elliott delve deeper into honing the power of their voices amid a perfectly horrifying clatter, culminating in a body of songs that are part catharsis and part freak-out, driven by a complete and utter contempt for polite society~~~~#000000:.~~
~~#000000:— CR~~
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~~#000000:__Dasher__ employs heavy and frantic noise-punk that, true to the group’s name, sprints forward while commanding its own space. Anchored by Kylee Kimbrough’s aggressive percussion and blistering rhythms, the group constructs a harsh and manic swarm of all-consuming sound. Dasher’s sound is powerful, busy, and staggering, with any chance of escape barred by Kimbrough’s guttural howling. Though Kimbrough left Atlanta for Bloomington, Indiana, years ago, her absence still resonates throughout the local music scene. Every homecoming is a blowout of the highest order, and her Irrelevant Music Fest return is guaranteed to be one for the history books~~~~#000000:.~~
~~#000000:— WC~~
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~~#000000:__CUBE__ is the moniker of Oakland, California-based producer Adam Keith. Keith spent a few of his early- and mid-aughts years in Atlanta’s experimental music scene performing with defunct no wave outfit Big and Tall. As CUBE, he blurs the lines between industrial music, techno, noise, and dub, with a thoroughly avant-garde slant. Released via San Francisco-based label Left Hand Path, Keith’s 2016 release, titled ''My Cube'', is an essential listen for anyone who’s still singing the praises of Throbbing Gristle, Suicide, Merzbow, et al. Keith brings their influence into a modern context by way of jaw-dropping loop-and-drum-machine worship, morbid mantras, and esoteric sound collages that culminate in a seriously next-level approach to modern experimental music~~~~#000000:.~~
~~#000000:— Bobby Power~~
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  string(8055) " Music Irrelevant1 1 11  2018-07-05T20:05:37+00:00 Music_Irrelevant1-1_11.jpg     Kyle Swick’s annual music fest places Atlanta D.I.Y. in a larger context  7097  2018-07-19T10:15:00+00:00 Local music and other Irrelevant things chad.radford@creativeloafing.com Chad Radford Will Cardwell, Lily Guthrie, Bobby Power, Chad Radford, and Annika Von Grey  2018-07-19T10:15:00+00:00 Irrelevant Music Fest returns to @529_EAV and the Bakery July 18-22 w/ performances by Pylon Reenactment Society (@Pylongirl), #Dasher, @rosehotelmusic, #Cube @ArborLaborUnion, #Material Girls #AtlantaMusic Irrelevant Music Festival was born in 2016, as an outlet serving Atlanta’s underground music scene. “I started the festival as a way to celebrate Atlanta’s art and the kind and dedicated people that put in countless hours to make said art a reality for our city,” says founder and Irrelevant Music promoter Kyle Swick. “I was inspired by festivals like Cropped Out in Louisville, and Nameless Fest in Nashville, as each one offers platforms for local and regional musicians that are easily overlooked by the masses.”

Over the last three years, Irrelevant Fest has grown from a grass-roots event into a beacon for touring acts, with a lineup that places nationally and internationally touring artists on the same playing field as young Atlanta-based acts. Irrelevant Fest’s bottom line is about showcasing homegrown talent. This growing dynamic anchors the Atlanta music scene’s place in both a regional and national context. “We do this festival because we believe that Atlanta has one of the most diverse and unique voices in the country,” Swick says. “It is our personal mission to spread the word and make sure people are witness to this time of music from the South.”

This year, Irrelevant Fest happens July 18-22, taking over 529 in East Atlanta, and the Bakery in Adair Park/Oakland City, with nearly 50 acts. Before the festival kicks off, CL’s music scribes have pulled together a list of 10 must-see acts scheduled to perform throughout the week.


Few groups creating indie rock in the post-emo context tap into the raw passion and earnest sentiments that Blis. evokes. Each lyrical bar drips with tangible melancholy, And the instrumentation, which lies at an unexpected intersection of grunge and polished, modern rock production, accentuates the vocals while each song stands its ground. The group’s latest release, No One Loves You (Sargent House), showcases the group’s broad range of emotions and musical style.
— Will Cardwell

 


Arbor Labor Union crafts a sonically charged and picturesque canvas to explore. Original and catchy melodies serve as the building blocks for this imagined landscape, cemented by solid rhythms that put the finishing touches on a lush audio portrait. When the music is married with the vocals, the group’s sound evokes an almost mystical quality. This union is in full force on the band’s latest EP ALU’s Blues as well as its 2016 Sub Pop Records debut album, I Hear You.
— WC

 


When Rose Hotel’s singer and guitarist Jordan Reynolds’ tremulous voice takes shape amid a backdrop of swirling guitars and subtle pads, the result is undeniably dreamy. Softness reigns supreme in Rose Hotel’s world, and one can’t help but feel nostalgic and tender in response. The group has reimagined and rereleased two tracks from its 2017 EP Always a Good Reason, incorporating a full-band’s sonic aesthetic reminiscent of a sweetly sleepy combination of Jenny Lewis and Lana Del Rey.
— Annika Von Grey

 


Once the five post-punkers of Material Girls throw horns into the mix of shredding guitars and scathing vocals, you won’t know what hit you — except maybe some lipstick. Material Girls’ headlining performance at Irrelevant Music Fest is also the release party for the group’s debut LP, Leather, out July 6 via Irrelevant Music in the US and EXAG’ Records in Europe.
—  Lily Guthrie

 


Night Cleaner is the solo project of singer, guitarist, and songwriter Matthew Lambert. As one-third of the blistering psych rock trio All the Saints, Lambert maintains a spectral presence within the local music scene. Sometimes entire years have gone by between ATS shows, but they’re such powerful displays of rich sonic force that people at the bar are still talking about it. With Night Cleaner, Lambert takes on a more open-ended approach to songwriting, harnessing the power of a dark and noisy resonance to ramshackle melodies emanating from an arsenal of guitars, Rhodes, MPC, and more.
— Chad Radford

 


Pylon Reenactment Society pays dutiful homage to days past while forging ahead with newfound vigor. Vanessa Briscoe Hay’s voice maintains the post-punk and proto new wave gusto of Pylon’s original configuration. The band is currently in the studio recording and mastering new material under the guidance of guitarist Jason NeSmith, with a new single, the follow-up to 2017’s Part Time Punks Session 12-inch, planned for release later this year.
— AVG

 


Yukons channel their chiming and laidback post-punk and Latinx expressions through a lo-fi cacophony and shoegaze hymns. The trio, featuring singer and guitarist José Joaquín Izaguirre, drummer Danielle Dollar, and bass player Hannah Lenkey, released their debut tape, South of the Equator, in the spring. Since then, songs such as “Pa’ Lante,” “Toolbox (the way she thinks),” and “Abajo Cadenes” — sung in Spanish — have left an indelible mark on Atlanta’s contemporary indie rock scene.
— LG

 


HOGG crafts pure and screaming industrial hellscapes and confrontational blasts of pounding rhythms and grinding resonance under the command of Emma Sims and Hanna Elliott. Both Sims and Elliott are Atlanta expats who’ve developed their brooding musical aesthetic on Chicago’s West Side. In May, the group released its latest album, Self​-​Extinguishing Emission via Scrapes Recordings. With this latest offering, Sims and Elliott delve deeper into honing the power of their voices amid a perfectly horrifying clatter, culminating in a body of songs that are part catharsis and part freak-out, driven by a complete and utter contempt for polite society.
— CR

 


Dasher employs heavy and frantic noise-punk that, true to the group’s name, sprints forward while commanding its own space. Anchored by Kylee Kimbrough’s aggressive percussion and blistering rhythms, the group constructs a harsh and manic swarm of all-consuming sound. Dasher’s sound is powerful, busy, and staggering, with any chance of escape barred by Kimbrough’s guttural howling. Though Kimbrough left Atlanta for Bloomington, Indiana, years ago, her absence still resonates throughout the local music scene. Every homecoming is a blowout of the highest order, and her Irrelevant Music Fest return is guaranteed to be one for the history books.
— WC

 


CUBE is the moniker of Oakland, California-based producer Adam Keith. Keith spent a few of his early- and mid-aughts years in Atlanta’s experimental music scene performing with defunct no wave outfit Big and Tall. As CUBE, he blurs the lines between industrial music, techno, noise, and dub, with a thoroughly avant-garde slant. Released via San Francisco-based label Left Hand Path, Keith’s 2016 release, titled My Cube, is an essential listen for anyone who’s still singing the praises of Throbbing Gristle, Suicide, Merzbow, et al. Keith brings their influence into a modern context by way of jaw-dropping loop-and-drum-machine worship, morbid mantras, and esoteric sound collages that culminate in a seriously next-level approach to modern experimental music.
— Bobby Power



For more information including time, price, and venue details, check out www.irrelevantmusic.net.    Melanie Anne Paulos TOTALLY IRRELEVANT: Irrelevant Music Fest founder Kyle Swick.                                   Local music and other Irrelevant things "
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Thursday July 19, 2018 06:15 am EDT
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