Atlanta Festivals 2000
Our Atlanta Festival recap for 2000
Photo credit: Rebecca Beard
Atlanta is blessed with an amazing array of festivals and fairs that happen all year round. Below is our coverage of the big Festivals in Atlanta in 2000.
If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
Festivals
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After the 2000 edition was canceled, the festival's future was in jeopardy. But enough volunteers stepped forward last week to begin planning a 2001 event. Some changes may be in the works, such as adding a theme or timing the festival to coincide with other neighborhood events like a 5K run or the Tour of Homes, Snell says.
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Candler Park event coming back in 2001 Article
Saturday July 15, 2000 12:04 am EDT
Candler Park Festival News
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string(7559) "Acts in italics are CL's picks. All showcases subject to change.
WEDNESDAY, AUGUST 9?
Atlanta Local Music Awards — Featuring performances by Soup, Backbone and Gipp of Goodie Mob, Ed Roland of Collective Soul, R.E.D., Bill Mallonee & the Vigilantes of Love, Brand New Immortals, Jennifer Nettles, Johnny Knox, Billionaire, the Lyrical Giants, Peter Searcy and Double Drive. Tabernacle (8 p.m.)THURSDAY, AUGUST 10?Panels
12 p.m.: A&R.com - Getting Discovered Online (Hilton Grand Ballroom D)1:45 p.m.: Website Ownership (Hilton Grand Ballroom D)3:15 p.m.: How I Wrote That Song (Cotton Club)Showcases Cotton Club — Bay County Poets (9 p.m.); Supermodel (10 p.m.); Peter Searcy (11 p.m.); The Urge (12 a.m.); Adom (1 a.m.)Dark Horse Tavern — AudioBridge (9 p.m.); Cornbread (10 p.m.); Douglas (11 p.m.); Star Yard (12 a.m.); Jag Star (1 a.m.)Echo Lounge — Left Front Tire (9 p.m.); Clare Quilty (10 p.m.); pH Balance (11 p.m.); Myssouri (12 a.m.); 3D5SPD (1 a.m.)Hard Rock Café — Shufly (9 p.m.); The Pleasantdales (10 p.m.); Steep (11 p.m.); Paydirt (12 a.m.); Blue Meridian (1 a.m.)9 Lives Saloon — Dick Delicious (9 p.m.); Drill 187 (10 p.m.); Skerv (11 p.m.); Package (12 a.m.); The Trick (1 a.m.)Riviera — Moe Loughran (9 p.m.); Mest (10 p.m.); Garrison Field (11 p.m.); Clutch Cargo (12 a.m.); Johnny Knox (1 a.m.)7 Stages/Front — Barbara Kessler (9 p.m.); Annie Minogue (10 p.m.); Leisure McCorkle (11 p.m.); Billy Pilgrim (12 a.m.); Swan Dive (1 a.m.)7 Stages/Back — Robert Burke Warren (9:40 p.m.); Doria Roberts (10:40 p.m.); John Mayer (11:40 p.m.); Amanda Garrigues (12:40 a.m.)Smith's Olde Bar — Mesh (9 p.m.); 19 Wheels (10 p.m.); Soup (11 p.m.); Swinging Love Hammers (12 a.m.)Star Bar — Michael Reno Harrell (9 p.m.); Bluetick (10 p.m.); Mark Insley (11 p.m.); Greta Lee (12 a.m.); Slick Pelt (1 a.m.)Studio Central — Nikki (8 p.m.); Derrick Dixson (8:30 p.m.); Fractions (9 p.m.); Blajic Potion (9:30 p.m.); Scram (10 p.m.); Ragz da Richa (10:30 p.m.); Njeri (11 p.m.); Attic Crew Productions Presents: Mark Twayne, Rooster, Jim Crow and YoungBloodz (12-3 a.m.)Tabernacle — KGB (8 p.m.); Dog Fashion Disco (9 p.m.); Bif Naked (10 p.m.); Fozzy (11 p.m.); Miller's Tale (12 a.m.)Variety Playhouse — Kevin Lawson (9 p.m.); Something 5 (10 p.m.); Bend (11 p.m.); Empire 44 (12 a.m.); Brand New Immortals (1 a.m.)FRIDAY, AUGUST 11? Panels 12 p.m.: Selling Through by Selling Out — Breaking Bands Using Non-Traditional Methods (9 Lives); Distribution and the Internet (Star Bar); Pass the Buck — Where Does the Money Go (7 Stages); A Record Label is More Than a Business Card (Studio Central)2 p.m.: Log On ... Guerilla Radio — How the Internet and the FCC are Changing the Face of Radio (9 Lives); Rock and Roll Boot Camp: After the Record Deal (Star Bar); Merchandise, Production, Publishing, and Performing Rights (7 Stages); Are You Hip to .Com? (Studio Central)4 p.m.: Artist and Repertoire — A Historical Perspective/The Changing Face of A&R (7 Stages); Covering Hip Hop, Whose Story Is It Anyway? (Studio Central)Showcases Cotton Club — Johnny Hyde (8 p.m.); David Ryan Harris (9 p.m.); John Mayer (10 p.m.); Jennifer Nettles Band (11 p.m.); Gran Torino (12 a.m.)Dark Horse Tavern — Galaxie (9 p.m.); Zoux (10 p.m.); Mister Natural (11 p.m.); combinationLOCK (12 a.m.); Blame (1 a.m.)Echo Lounge — Lift (9 p.m.); Audra & the Antidote (10 p.m.); Kenny Howes & the Yeah! (11 p.m.); Metroscene (12 a.m.); The Forty-Fives (1 a.m.)Hard Rock Café — Tim Acres Band (9 p.m.); Film (10 p.m.); Sandwich (11 p.m.); Lounge Fly (12 a.m.); Eastcide (1 a.m.)Karma — Freeworld Room: DJ Starboy (11 p.m. - 2 a.m.) DJ Molly (2-4 a.m.); Shiva Room: Kevin O (11 p.m. - 4 a.m.)9 Lives Saloon — minus (9 p.m.); Oldstar (10 p.m.); Something Left After Misfortune (11 p.m.); Neurotica (12 a.m.); El Caminos (1 a.m.);Riviera — Naive (9 p.m.); Gentle Readers (10 p.m.); Cider (11 p.m.); Mandorico (12 a.m.); Sam Brooker (1 a.m.)7 Stages/Front — Life in General (9 p.m.); Beth Wood (10 p.m.); Miche Fambro (11 p.m.); Michelle Malone (12 a.m.); Brian Webb (1 a.m.)7 Stages/Back — Mike Younger (9:40 p.m.); Jeffrey Butts (10:40 p.m.); Uncle Mark Reynolds (11:40 p.m.); Louis Mosrie (12:40 a.m.)Star Bar — Kickstand (9 p.m.); Wide Receivers (10 p.m.); Five Eight (11 a.m.); Young Antiques (12 a.m.); Bill Mallonoee & Vigilantes of Love (1 a.m.)Studio Central — Red Tide (8 p.m.); Billi Nicol (8:25 p.m.); Major Damage (8:50 p.m.); 420 Monks (9:15 p.m.); Pos-Neg (9:40 p.m.); Machet-T (10:05 p.m.); Varcity Cipher (10:30 p.m.); Radio Zoe, Kin, Yagaboo, Bonafide (11:20 p.m); Co-Defendant & Bohagon, Lyrical Giants, Chyna Whyte, Lil' Jon and the Eastside Boys (12-3 a.m.)Tabernacle — Bottle Fly (9 p.m.); Another Man Down (10 p.m.); Psychedelic Furs (11 a.m.); Mr. Bella (12:30 a.m.)Variety Playhouse — YG (9 p.m.); Betty in Black (10 p.m.); Fuzzy Sprouts (11 p.m.); Tonohoney (12 a.m.); Homemade Jam (1 a.m.)SATURDAY, AUGUST 12? Panels 12 p.m.: Taking It to the Streets — New Ideas on How to Market Music (9 Lives); Press or Click — The Future of Printed Media and the Web (Star Bar); Law! What Is It Good For? (7 Stages); Sisters In Song (Studio Central)2 p.m.: Secret Agent Man (9 Lives); 20% for WHAT? — The Role of Artist Manager (Star Bar); "This Panel Brought to You By..." — The Evolving Role of Sponsorship In the Music Business (7 Stages); Producers Panel (Studio Central)4 p.m.: Rock and Roll Jeopardy: Special Music Industry Edition (7 Stages); The Record Deal/Where Do I Sign? (Studio Central)Showcases Cotton Club — Jake (9 p.m.); Edward James Band (9:45 p.m.); Sick Speed (10:30 p.m.); Modern Hero (11:15 a.m.); Dezeray's Hammer (12 a.m.); Chubby (12:45 a.m.)Dark Horse Tavern — Flair (9 p.m.); Smithwick Machine (10 p.m.); Injected (11 p.m.); Rev 7 (12 a.m.); S.M.O. (1 a.m.)Echo Lounge — Dirtball (9 p.m.); Tift Merritt & the Carbines (10 p.m.); Star Room Boys (11 p.m.); Two Dollar Pistols (12 a.m.); Ex-Husbands (1 a.m.)Hard Rock Café — K Floor (9 p.m.); Lotustarr (10 p.m.); Vonra (11 p.m.); Buffalo Nickel (12 a.m.); Selzers (1 a.m.)Karma — Freeworld Room: Aerial (11 p.m.-1 a.m.)/Joe Livingston (1-3 a.m.); Shiva Room: Anonymous (11 p.m.-3 a.m.)9 Lives Saloon — Lolli Pop Lust Kill (9 p.m.); Frankie Machine (10 p.m.); Superconductor (11 p.m.); 5lb Bag (12 a.m.); Bent (1 a.m.)7 Stages/Front — Billy Cerveny (9 p.m.); Caroline Aiken (10 p.m.); Tim Moyer (11 p.m.); Matthew Kahler (12 a.m.); Sonya Vetra (1 a.m.)7 Stages/Back — Sam Shaber (9:40 p.m.); Kevin Lawson (10:40 p.m.); Justin Rosolino (11:40 p.m.); Tammy Fowler (12:40 a.m.)Riviera — Justincase (9 p.m.); Go Lucky (10 p.m.); Stargazer Lily (11 p.m.); Heritage Cherry (12 a.m.); JATR (1 a.m.)Star Bar — Black Mollys (9 p.m.); Donkey Punch (10 p.m.); Squatweiler (11 p.m.); Super X-13 (12 a.m.); X-Impossibles (1 a.m.)Studio Central — Salikida (7:30 p.m.); Chiedza (8:20 p.m.); Justin Hale (9 p.m.); Utopia State (9:40 p.m.); Jawz of Life, Eject (11 p.m.); Vega, GA, Who You Callin' Country, Dymond (12 a.m.)Tabernacle — Colony (9 p.m.); Frisbie (10 p.m.)''; PlankRoad ChainGang (11 p.m.); Smakdab (12 a.m.); Superbz (1 a.m.)Variety Playhouse — Cool for August (8:30 p.m.); Weekend Excursion (9:30 p.m.); King Konga (10:30 p.m.); Big Sky (11:30 p.m.); Ultraphonic (12:30 a.m.)??
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__WEDNESDAY, AUGUST 9__?
__Atlanta Local Music Awards__ -- Featuring performances by Soup, Backbone and Gipp of Goodie Mob, Ed Roland of Collective Soul, R.E.D., Bill Mallonee & the Vigilantes of Love, Brand New Immortals, Jennifer Nettles, Johnny Knox, Billionaire, the Lyrical Giants, Peter Searcy and Double Drive. __Tabernacle__ (8 p.m.)%%%%%%____THURSDAY, AUGUST 10____?%%%%%%Panels
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string(7850) " atlantis conference Atlantis Music Conference 2000 2000-08-12T04:04:00+00:00 Atlantis Conference Schedule ben.eason@creativeloafing.com Ben Eason 2000-08-12T04:04:00+00:00 Acts in italics are CL's picks. All showcases subject to change.
WEDNESDAY, AUGUST 9?
Atlanta Local Music Awards — Featuring performances by Soup, Backbone and Gipp of Goodie Mob, Ed Roland of Collective Soul, R.E.D., Bill Mallonee & the Vigilantes of Love, Brand New Immortals, Jennifer Nettles, Johnny Knox, Billionaire, the Lyrical Giants, Peter Searcy and Double Drive. Tabernacle (8 p.m.)THURSDAY, AUGUST 10?Panels
12 p.m.: A&R.com - Getting Discovered Online (Hilton Grand Ballroom D)1:45 p.m.: Website Ownership (Hilton Grand Ballroom D)3:15 p.m.: How I Wrote That Song (Cotton Club)Showcases Cotton Club — Bay County Poets (9 p.m.); Supermodel (10 p.m.); Peter Searcy (11 p.m.); The Urge (12 a.m.); Adom (1 a.m.)Dark Horse Tavern — AudioBridge (9 p.m.); Cornbread (10 p.m.); Douglas (11 p.m.); Star Yard (12 a.m.); Jag Star (1 a.m.)Echo Lounge — Left Front Tire (9 p.m.); Clare Quilty (10 p.m.); pH Balance (11 p.m.); Myssouri (12 a.m.); 3D5SPD (1 a.m.)Hard Rock Café — Shufly (9 p.m.); The Pleasantdales (10 p.m.); Steep (11 p.m.); Paydirt (12 a.m.); Blue Meridian (1 a.m.)9 Lives Saloon — Dick Delicious (9 p.m.); Drill 187 (10 p.m.); Skerv (11 p.m.); Package (12 a.m.); The Trick (1 a.m.)Riviera — Moe Loughran (9 p.m.); Mest (10 p.m.); Garrison Field (11 p.m.); Clutch Cargo (12 a.m.); Johnny Knox (1 a.m.)7 Stages/Front — Barbara Kessler (9 p.m.); Annie Minogue (10 p.m.); Leisure McCorkle (11 p.m.); Billy Pilgrim (12 a.m.); Swan Dive (1 a.m.)7 Stages/Back — Robert Burke Warren (9:40 p.m.); Doria Roberts (10:40 p.m.); John Mayer (11:40 p.m.); Amanda Garrigues (12:40 a.m.)Smith's Olde Bar — Mesh (9 p.m.); 19 Wheels (10 p.m.); Soup (11 p.m.); Swinging Love Hammers (12 a.m.)Star Bar — Michael Reno Harrell (9 p.m.); Bluetick (10 p.m.); Mark Insley (11 p.m.); Greta Lee (12 a.m.); Slick Pelt (1 a.m.)Studio Central — Nikki (8 p.m.); Derrick Dixson (8:30 p.m.); Fractions (9 p.m.); Blajic Potion (9:30 p.m.); Scram (10 p.m.); Ragz da Richa (10:30 p.m.); Njeri (11 p.m.); Attic Crew Productions Presents: Mark Twayne, Rooster, Jim Crow and YoungBloodz (12-3 a.m.)Tabernacle — KGB (8 p.m.); Dog Fashion Disco (9 p.m.); Bif Naked (10 p.m.); Fozzy (11 p.m.); Miller's Tale (12 a.m.)Variety Playhouse — Kevin Lawson (9 p.m.); Something 5 (10 p.m.); Bend (11 p.m.); Empire 44 (12 a.m.); Brand New Immortals (1 a.m.)FRIDAY, AUGUST 11? Panels 12 p.m.: Selling Through by Selling Out — Breaking Bands Using Non-Traditional Methods (9 Lives); Distribution and the Internet (Star Bar); Pass the Buck — Where Does the Money Go (7 Stages); A Record Label is More Than a Business Card (Studio Central)2 p.m.: Log On ... Guerilla Radio — How the Internet and the FCC are Changing the Face of Radio (9 Lives); Rock and Roll Boot Camp: After the Record Deal (Star Bar); Merchandise, Production, Publishing, and Performing Rights (7 Stages); Are You Hip to .Com? (Studio Central)4 p.m.: Artist and Repertoire — A Historical Perspective/The Changing Face of A&R (7 Stages); Covering Hip Hop, Whose Story Is It Anyway? (Studio Central)Showcases Cotton Club — Johnny Hyde (8 p.m.); David Ryan Harris (9 p.m.); John Mayer (10 p.m.); Jennifer Nettles Band (11 p.m.); Gran Torino (12 a.m.)Dark Horse Tavern — Galaxie (9 p.m.); Zoux (10 p.m.); Mister Natural (11 p.m.); combinationLOCK (12 a.m.); Blame (1 a.m.)Echo Lounge — Lift (9 p.m.); Audra & the Antidote (10 p.m.); Kenny Howes & the Yeah! (11 p.m.); Metroscene (12 a.m.); The Forty-Fives (1 a.m.)Hard Rock Café — Tim Acres Band (9 p.m.); Film (10 p.m.); Sandwich (11 p.m.); Lounge Fly (12 a.m.); Eastcide (1 a.m.)Karma — Freeworld Room: DJ Starboy (11 p.m. - 2 a.m.) DJ Molly (2-4 a.m.); Shiva Room: Kevin O (11 p.m. - 4 a.m.)9 Lives Saloon — minus (9 p.m.); Oldstar (10 p.m.); Something Left After Misfortune (11 p.m.); Neurotica (12 a.m.); El Caminos (1 a.m.);Riviera — Naive (9 p.m.); Gentle Readers (10 p.m.); Cider (11 p.m.); Mandorico (12 a.m.); Sam Brooker (1 a.m.)7 Stages/Front — Life in General (9 p.m.); Beth Wood (10 p.m.); Miche Fambro (11 p.m.); Michelle Malone (12 a.m.); Brian Webb (1 a.m.)7 Stages/Back — Mike Younger (9:40 p.m.); Jeffrey Butts (10:40 p.m.); Uncle Mark Reynolds (11:40 p.m.); Louis Mosrie (12:40 a.m.)Star Bar — Kickstand (9 p.m.); Wide Receivers (10 p.m.); Five Eight (11 a.m.); Young Antiques (12 a.m.); Bill Mallonoee & Vigilantes of Love (1 a.m.)Studio Central — Red Tide (8 p.m.); Billi Nicol (8:25 p.m.); Major Damage (8:50 p.m.); 420 Monks (9:15 p.m.); Pos-Neg (9:40 p.m.); Machet-T (10:05 p.m.); Varcity Cipher (10:30 p.m.); Radio Zoe, Kin, Yagaboo, Bonafide (11:20 p.m); Co-Defendant & Bohagon, Lyrical Giants, Chyna Whyte, Lil' Jon and the Eastside Boys (12-3 a.m.)Tabernacle — Bottle Fly (9 p.m.); Another Man Down (10 p.m.); Psychedelic Furs (11 a.m.); Mr. Bella (12:30 a.m.)Variety Playhouse — YG (9 p.m.); Betty in Black (10 p.m.); Fuzzy Sprouts (11 p.m.); Tonohoney (12 a.m.); Homemade Jam (1 a.m.)SATURDAY, AUGUST 12? Panels 12 p.m.: Taking It to the Streets — New Ideas on How to Market Music (9 Lives); Press or Click — The Future of Printed Media and the Web (Star Bar); Law! What Is It Good For? (7 Stages); Sisters In Song (Studio Central)2 p.m.: Secret Agent Man (9 Lives); 20% for WHAT? — The Role of Artist Manager (Star Bar); "This Panel Brought to You By..." — The Evolving Role of Sponsorship In the Music Business (7 Stages); Producers Panel (Studio Central)4 p.m.: Rock and Roll Jeopardy: Special Music Industry Edition (7 Stages); The Record Deal/Where Do I Sign? (Studio Central)Showcases Cotton Club — Jake (9 p.m.); Edward James Band (9:45 p.m.); Sick Speed (10:30 p.m.); Modern Hero (11:15 a.m.); Dezeray's Hammer (12 a.m.); Chubby (12:45 a.m.)Dark Horse Tavern — Flair (9 p.m.); Smithwick Machine (10 p.m.); Injected (11 p.m.); Rev 7 (12 a.m.); S.M.O. 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Atlantis Conference Schedule Article
Saturday August 12, 2000 12:04 am EDT
Atlantis Music Conference 2000
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string(21222) "More on Atlantis:
Why you might not find your favorite local bands at Atlantis.
>Atlantis conference embraces black music with its urban symposium.
Let the industry folks figure out for themselves which of the 200-plus acts might make them rich. These Atlantis showcase picks represent some of what our music critics figure will at least make conference attendees happy they came.
ADOM (Thurs., 1 a.m., Cotton Club) — On paper at least, what this young Atlanta band attempts just shouldn't fly: a laid-back trip-hop groove, layered with equal parts Eno-esque atmospherics and radio-ready melodies, topped-off with a singer who evokes more than a passing vocal similarity to Sting. Egads — pass the Motorhead discs! But amazingly, it does work, at times quite beautifully. Adom possess an ineffable originality that acknowledges musical debts without blatantly aping them. Thus while Portishead's brittle grooves permeate their songs, the band eschews Euro-cool detachment for a warmer, dare-I-say sexier groove that connects emotionally and intellectually. As for the Sting thing, let's just say that self-important, crusty old fart hasn't sounded this enthusiastic — or downright lusty — since he sang about hookers. Adom, throwing caution (not to mention commercial viability) to the wind, seem hellbent on pursuing their own musical path. In a world rife with cookie-cutter mentalities, that's a damn refreshing conceit indeed. (Robertson)
AUDRA AND THE ANTIDOTE (Fri., 10 p.m., Echo Lounge) — New-wavers Audra and the Antidote may be the only band to feature a contortionist lead singer. The quirky Nashville-based group opens its set with an instrumental as frontwoman Audra Coldiron performs gravity-defying poses centerstage. Coldiron is a powerful audio/visual treat. When she's not banging chords on a Rickenbacker as her band rages behind her or using a telephone as a microphone, she's doing handstands, backbends and all sorts of athletics during the instrumental breaks. With their MP3 hit "Jenny's Got a Boyfriend" as the usual set closer, Audra and company should be just the Antidote for a cool evening of danceable and candy-coated pop rock goodies. (Smith)
BLACK MOLLYS (Sat., 9 p.m., Star Bar) — "Kirkwood," exclaims a violent answering machine voice. The story seems urgent. Vocal lines yell out familiar Cabbagetown street names from the 7-inch vinyl. The voice is like that of some fallen teenager from a pulp junky novel looking for the all-important medication. Such are the musical paintings on a canvas placed a little left of center from most Atlanta bands. Standing nearly alone under the gone-but-not-forgotten marquee of noise rock is Atlanta's Black Mollys. Constructed from the ashes of Estrada, the Mollys look to the post-punk guitar noise of bands like the Jesus Lizard, Unsane and even vintage Nirvana as influences. Their bi-polar sound is an inviting detour to those looking for the back alley of the Atlanta music scene. (Hatcher)
DEZERAY'S HAMMER (Sat., 12 a.m., Cotton Club) — God bless Aaron Whisnant. He has as many melodic chops as any alt-rocker of his generation (Sugar Ray's Mark McGrath included) and continues to turn out gobs of radio-ready tuneage, yet can't convince the music industry to treat him right. His vault of unreleased material (including the still-relevant, permanently shelved 1997 Universal/MCA album by his former band, Albert Hill) would be a goldmine for any label, so there's absolutely no reason why he and his Dezeray's Hammer bandmates Kenny Hogan (drums) and Chris Francisco (bass) aren't already stars. Perhaps their latest self-titled album, loaded as it is with as many hooks as Whisnant could fit into a 74-minute CD, will gain the band the airplay it deserves. Until then, the world will just have to enjoy Dezeray's Hammer onstage and on record. (York)
THE EX-HUSBANDS (Sat., 1 a.m., Echo Lounge) — Originally from New York City, the Hubs relocated to Nashville a couple of years ago, but have found their niche on the road. After a scorching Bubbapalooza appearance in May, it'll be great to see them back in town for another hot set of hillbilly metal. Their two CDs demonstrate honky tonk know-how, but the live show really earns this band their hardcore reputation. Fine picking and vocals are perfectly complimented by a hard bassline and powerful, steady drumming. Whether whipping out a great original country tune in the style of the mid -'70s Outlaw movement or tearing through a cover of a Black Sabbath song, the Ex-Husbands prove over and over they're a band to be reckoned with. Too bad the Nashville industry is scared to death of anything so exciting. (Kelly)
FRISBIE (Sat., 10 p.m., Tabernacle) — It doesn't take long to separate the wheat from the chaff in the guitar-jangling, chorus-hoarding, melody-loving power-pop genre, and within a few bars of "Let's Get Started" from Frisbie's debut The Subversive Sounds of Love, I knew I was hooked. Sure this Chicago quintet handily takes care of pop business (ahhh, melody!), but a refreshing fondness for subtle minor key hooks and witty lyrics distinguishes them from all the other frosh at good old Beatles U. Occupying hallowed pop ground roughly between the Hollies and Zumpano, Frisbie may be too clever by half for wide-spread, commercial acceptance, but the shame is ours, not theirs. Fellow pop nuts (and other open-minded souls) are enthusiastically pointed in their direction. (Robertson)
AMANDA GARRIGUES (Thurs., 12:40 a.m., 7 Stages/back) — Gainesville, Fla., native songwriter Amanda Garrigues first entered the music scene in the late '80s as a member of a band called Big Shoals Tract. Her delicate mix of pretty, swirling melodies over a strong and propulsive percussion set the tone of her current solo, self-released acoustic work on her own label, Average Sinner Records. "I'm really just interested in making good music," she says of her modest operation, "but the business side is very interesting to me as well." A recent alliance with Internet organizations MP3.com, Indiegrrl and the Society of Independent Musical Artists have featured Garrigues on several compilation CDs and tours. SIMA is a new group fighting for artists rights for digital downloads. "It's the power of the Internet, " she says, "the power of people wanting to make a change." (Smith)
GENTLE READERS (Fri., 10 p.m., Riviera) — This Decatur-based quartet were one of the highlights of last year's conference. Their easy-going sound recalls the best of '70s New York cool, but with a slice of Southern gothic thrown in to confound and please intelligent listeners. Witty and literate, the Readers can rock with gleeful abandon through pathos-dripping vignettes. Susan Fitzsimmons and Lee Cuthbert keep the Gentle crew rooted in the finest traditions of warm '60s guitar jangle, chilly '70s Manhattan art-school punk, colorful '80s pop smarts and an angular '90s retro bent. With a mix like that, can world domination be far off? (Smith)
MARK INSLEY (Thurs., 11 p.m., Star Bar) — Mark Insley is one of the contemporary purveyors of the Bakersfield/West Coast country sound popularized by Merle Haggard and Buck Owens, and he does it true to form. His hard to find CD Good Country Junk is a fine collection of tunes, with several members of Dwight Yoakam's band providing instrumentation and production. Vocally, Insley sounds a lot like Jim Lauderdale, and his original songs capture the essence of California twang. He may be virtually unknown in these parts, but supporters of the local Redneck Underground bands will find a kindred spirit in Insley, and he just might surprise the hell out of a lot of folks. (Kelly)
KICKSTAND (Fri., 9 p.m., Star Bar) — No, that isn't Keith Richards. It's Atlanta's own rockin' Ray Dafrico, Richards' younger and perhaps even more talented lookalike. Over the years Dafrico has played in an assortment of Atlanta bands, going back to the Niteporters in the early '80s (a group which had the distinction of opening for the Clash at the Fox Theater), but lately he's divided his time between the powerhouse rock band Kathleen Turner Overdrive and a much more personal little ensemble, Kickstand, which provides the perfect vehicle for Dafrico's clever, R&B-influenced songwriting and his distinctive, reedy yet smooth voice. Always backed by expert players, Dafrico puts on a fine show. As Tim Nielsen of drivin' n cryin' observed recently, "Ray's always been rock star material, but has never had the chance to be one." (Nicoll)
JOHNNY KNOX (Thurs., 1 a.m., Riviera) — There are guitar players, and then there are guitarists; and positioned firmly in the latter camp is Atlanta's Johnny Knox. Whether he's fronting his own bluesrockin' trio (whose big-as-Texas sound invites favorable comparison to Stevie Ray Vaughn & Double Trouble) or filling in with the Blacktop Rockets (whose authentic '50s rockabilly evokes the original Johnny Burnette Trio), Knox rocks. With a distinct, eye-catching look — his hair combed in a two-story black quiff, and his chin darkened by a subtle black Van Dyke — Knox is one of the rare "gunslinger" guitarists who's been offered endorsement deals both from guitar-makers and the manufacturers of hair-care products. What he's currently hoping for — and richly deserves — is similar attention from a record label. (Nicoll)
GRETA LEE (Thurs., 12 a.m., Star Bar) — If Merle Haggard was an attractive young woman, he might well be Greta Lee. Proudly a fixture on Atlanta's Redneck Underground scene — as well as a regular at various acoustic venues — Ms. Lee writes original country tunes which could match Merle's own bottle-for-bottle. Often clad in buckskin and tossing her head back joyfully as she plays guitar with her band, Lee also invites comparison to classic female country stars such as Loretta Lynn and Patsy Cline. For a number of years now she's had the good fortune to include guitarist John Byrd in her core stage band. Byrd's remarkable talent for wringing pedal steel sounds out of an electric guitar has been a tremendous asset to Lee's sparkling concert performances. (Nicoll)
LIFT (Fri., 9 p.m., Echo Lounge) — If it took the world more than a decade to recognize Aimee Mann's exquisite songwriting, then Molly Bancroft's day in the sun is surely nigh. Her band Lift has been on the road and in and out of the studio for years, putting out consistently killer independent releases (last year's EP September is a standout) and garnering a huge fanbase, both live and on the Internet. Originally a quartet, Lift gracefully weathered personnel changes in the late '90s, but have come into their own as a power trio, with Bancroft, original bassist Julie Clark and drummer Simone Simonton intact. The girls' reputation as a kick-ass-yet-sensitive all-chick band is no longer the only thing that precedes them; by now everyone knows it's the energy and emotional crescendo of songs such as "Let It Out" and "Even If (It Is Love)" that keep crowds coming back for more. (York)
MOE LOUGHRAN (Thurs., 9 p.m., Riviera) — Nashville-based Loughran is a talented singer/songwriter currently in the middle of a major-label bidding war. Several record companies are flying in to check her out, so it seems she'll be recording for a big label in the very near future. Loughran currently tours the U.S. frequently and records demos and jingles for national accounts during stop-overs in Nashville. Her performance at Woodstock '99 so impressed industry big-wigs that showcases were immediately set-up for the attractive red-head and her band. The Loughran gig seems destined to be the place to be for A&R spotting and some good music as well. (Smith)
MYSSOURI (Thurs., 12 a.m., Echo Lounge) — Fronted by Michael Bradley, whose shaved-bald head gleams like an exposed bone, Myssouri is a mystical Atlanta-based darkwave band who cast themselves in the tradition of Nick Cave and the Bad Seeds — with a generous dollop of 16 Horsepower's gloomy and haunting 19th century spirit and a hint of grandeur drawn from a galloping Ennio Morricone spaghetti western film score. Bradley's voice is deep and expressive, his songs chilling and memorable, and the group's stage presentation nearly hypnotic. Though by no means a goth band, Myssouri draws plenty of fans from the dark-eyeliner set, yet their appeal goes well beyond music scene factionalism. (Nicoll)
PSYCHEDELIC FURS (Fri., 12 a.m., Tabernacle) — In rare form on the Go-Go's/B-52's Summer Road Trip tour, the reformed Psychedelic Furs — Richard Butler, his brother Tim and guitarist John Ashton, along with a couple of guys Butler brought along from his mid-90s band Love Spit Love — won over the audience (an odd mix of grown-up frat kids, fag hags and drag queens). It wasn't just the ring of the oldies ("Pretty in Pink," "The Ghost in You," "Love My Way") that got the crowd hip-swaying and arm-waving, but also a few new songs from the band. Droning guitars, complemented by flecks of minor-key synthesizer riffs and Richard Butler's distinctively English vocals, are still the band's talent, and their flair for onstage drama is as present today as it was in the '80s. And what's more, Butler still looks good in black. (York)
DORIA ROBERTS (Thurs., 10:40 p.m., 7 Stages/back) — One of Atlanta's most popular acoustic musicians, Doria Roberts has been perched on the teetering precipice of success for so long, it's just a matter of time before something gives. Not only has she earned notice for her unique combination of jazz, soul, blues and folk (gotta love that cello in her combo), but her high profile work as founder of Queerstock has provided essential national visibility. Roberts' local fans are so dedicated, they pay for her albums before they're even recorded, giving the perennially cash-strapped singer much needed financial resources to keep her going. Politically correct, but far from preachy, Roberts connects on stage with her self-confidence, determination, effortlessly melodic tunes and a heartfelt, soulful and instantly distinctive voice. (Horowitz)
SMITHWICK MACHINE (Sat., 10 p.m., Dark Horse Tavern) — Scorching out of Alabama at damn near the speed of sound comes Smithwick Machine, ferociously paced rockers whose wild, fasten-your-seatbelts blast recalls the motor-revving of the MC5, the raw power of the Stooges and the fuzz tone bomp of the Ramones. There are also elements of glam and arena rock in the Machine's presentation, ranging from the sometimes wild outfits the boys wear to the gold metalflake finish on frontman Sam Smithwick's Les Paul guitar (which he slings so low it often bounces against his knees). (Nicoll)
STAR ROOM BOYS (Sat., 11 p.m., Echo Lounge)-- If you want real country played real good, Athens' dad-blamed Star Room Boys have given the world some of the best in recent memory on their recent Why Do Lonely Men and Women Break Each Other's Hearts? This ain't '70s Southern rock or slick Shania polish, it's modern country as it used to be. No gimmicks and no looking back. Just tales of regret, hurt, longing and plenty of attitude. The Star Room Boys personify the Bakersfield sound that pioneers like Merle Haggard and Buck Owens branded in the '60s. In a just world you'd hear a song like the Boys' "Gastonia" next to rare purists such as George Strait or Patty Loveless on the clear channel country giants. Dave Marr is heir apparent to Dwight Yoakam's pure western nasal baritone. You can almost imagine looking down at the turntable and seeing that '60s Capitol Records swirl label spinning as the band plays. (Smith)
SWAN DIVE (Thurs., 1 a.m., 7 Stages/front) — Nashville-based duo Swan Dive are not the typical Music City hat 'n' beltbuckle act. In fact, Bill DeMain and Molly Felder are more akin to the swingin' cool sounds of Burt Bacharach and Hal David than Brooks and Dunn. Their lush, laid-back arrangements recall '60s movie soundtracks and the samba shuffles of Antonio Carlos Jobim. DeMain says Swan Dive's main goal is to present a delightful pattern of textures within a body of work. "We make the studio our laboratory," he says, "and experiment with sounds and moods as we create." Wildly popular in Japan, Swan Dive have released several collections in Asia and their recent self-titled domestic album gathers the best of their wonderfully restrained and refreshingly innocent atmospheric pop music. (Smith)
TIFT MERRITT & THE CARBINES (Sat., 10 p.m., Echo Lounge) — North Carolina's sweetheart of the rodeo has long been poised to be the next big thing in the Americana scene, but business seems to keep getting in the way. Merritt's enchanting voice and stage presence suggests she's the heiress apparent to Emmylou Harris. The buzz is based on a 7-inch single with the Carbines, her recorded vocal duets with the Two Dollar Pistols and several serendipitous live performances. Merritt won big in the original song contest at Merlefest and wowed a rowdy SXSW crowd this year. She was heavily courted by big indie label Sugar Hill, but somehow, she's looking for a deal again. Somebody out there is gonna make it happen. Let's hope it's soon. (Kelly)
TWO DOLLAR PISTOLS (Sat., 12 a.m., Echo Lounge) — Towering frontman John Howie grew up listening to country music but later, as a rebellious teenager, lost himself in punk rock. He never forgot his roots, though, and after witnessing the nascent country/rock scene in North Carolina, Howie found himself turning back to the tunes of his faraway childhood. The eventual result was the Two Dollar Pistols, a band in which his rich voice — which compares favorably to that of X's John Doe — brings to life an almost forgotten era of Nashville's history, back when real men like George Jones and Ernest Tubb ruled the charts and when bar songs were written by men who drank Jack Daniels instead of Evian. The Two Dollar Pistols are packin' heat, loaded and ready for the second coming of Real Country. (Nicoll)
SONYA VETRA (Sat., 1 a.m., 7 Stages/front) — Conference veteran Vetra has played her soulful rock all over the world. At home in England as well as in home state of Georgia, Vetra's verve and vigor are infectious and heartwarming. Aided by her right-hand man Jeep Hook, the former Talk Talk guitarist and songwriter, Vetra delivers a set of intense and rocking tunes. Vetra (pronounced Vee-tra) stands with perfect poise, ready to become a household name. Recent contract developments may have the always-smiling singer signed to a deal soon, report insiders. But the surest bet will be the totally satisfying set she'll perform. A star in the making, Vetra is a delight. If previous Atlantis shows are any indication, definitely worth watching up-close during her intimate conference performance. (Smith)
BETH WOOD (Fri., 10 p.m., 7 Stages/front) — Lubbock, Texas-born Beth Wood is a classically-trained violinist who switched to guitar in college and gravitated to the Austin music scene. Now an Atlantan, by way of Asheville, N.C., Wood tours constantly and has released three solo albums. Her charming shows appeal to the folk crowd and rock fans equally. "I'm basically a rock 'n' roll person," Wood says. "But I reserve the right to be a folkie." Wood varies her approach from sultry, blues-based jazz stylings, to contemporary folk to frenzied rockers in the span of a set. A versatile artist and songwriter, Wood has earned considerable nationwide airplay and exposure, thanks to a recent tour with jam-rockers Jupiter Coyote. Wood's sense of humor and easy-going performance style is disarming and warm. (Smith)
THE X-IMPOSSIBLES (Sat, 1 a.m., Star Bar) — Anchored by the husband and wife team of Tim Lumley (vocals) and Heidi Lumley (guitar), the X-Impossibles are a refreshingly sane punk rock band who look back nostalgically on the '70s CBGB's scene and breathe fiery new life into that vintage sound. Their re-creation of the explosive Dolls/Stooges spirit is so inspiring, former New York Dolls guitarist Sylvain Sylvain sat in with them several times. Currently pounding the kit for the X-Imps is Morgan Engle, half of a rhythm section that also includes bassist Gary Yoxen, formerly of the hardcore crunchers Time Bomb '77. Handsome lead guitarist Shawn Christian rounds out the frantic five-piece. (Nicoll)
YOUNG ANTIQUES (Fri., 12 a.m., Star Bar) — An interesting hybrid of new wave, punk and country, the Blake Rainey and band's blend of pure pop and '60s twang will keep the Antiques' store open late at the Star Bar. Playing a cool midnight set of older material and a sampling of songs from their upcoming album, Wardrobe for a Jet Weekend, the 'Tiques always have a contagiously good time. A sure highlight of the conference, the band have been known to throw in the odd cover, so be on your toes for an obscure nugget curve-ball. Die-hard fans may want to request the Replacements' "Talent Show" as an appropriate ode to the Conference. (Smith)??
"
["tracker_field_contentWikiPage_raw"]=>
string(21288) "~~#333333:More on Atlantis:
[http://atlanta.creativeloafing.com/vibes_feature1.html|Why you might not find your favorite local bands at Atlantis.]
>[http://atlanta.creativeloafing.com/vibes_feature2.html|Atlantis conference embraces black music with its urban symposium.]~~
Let the industry folks figure out for themselves which of the 200-plus acts might make them rich. These Atlantis showcase picks represent some of what our music critics figure will at least make conference attendees happy they came.
__ADOM__ (Thurs., 1 a.m., Cotton Club) -- On paper at least, what this young Atlanta band attempts just shouldn't fly: a laid-back trip-hop groove, layered with equal parts Eno-esque atmospherics and radio-ready melodies, topped-off with a singer who evokes more than a passing vocal similarity to Sting. Egads -- pass the Motorhead discs! But amazingly, it does work, at times quite beautifully. Adom possess an ineffable originality that acknowledges musical debts without blatantly aping them. Thus while Portishead's brittle grooves permeate their songs, the band eschews Euro-cool detachment for a warmer, dare-I-say sexier groove that connects emotionally and intellectually. As for the Sting thing, let's just say that self-important, crusty old fart hasn't sounded this enthusiastic -- or downright lusty -- since he sang about hookers. Adom, throwing caution (not to mention commercial viability) to the wind, seem hellbent on pursuing their own musical path. In a world rife with cookie-cutter mentalities, that's a damn refreshing conceit indeed. (Robertson)
__AUDRA AND THE ANTIDOTE__ (Fri., 10 p.m., Echo Lounge) -- New-wavers Audra and the Antidote may be the only band to feature a contortionist lead singer. The quirky Nashville-based group opens its set with an instrumental as frontwoman Audra Coldiron performs gravity-defying poses centerstage. Coldiron is a powerful audio/visual treat. When she's not banging chords on a Rickenbacker as her band rages behind her or using a telephone as a microphone, she's doing handstands, backbends and all sorts of athletics during the instrumental breaks. With their MP3 hit "Jenny's Got a Boyfriend" as the usual set closer, Audra and company should be just the Antidote for a cool evening of danceable and candy-coated pop rock goodies. (Smith)
__BLACK MOLLYS__ (Sat., 9 p.m., Star Bar) -- "Kirkwood," exclaims a violent answering machine voice. The story seems urgent. Vocal lines yell out familiar Cabbagetown street names from the 7-inch vinyl. The voice is like that of some fallen teenager from a pulp junky novel looking for the all-important medication. Such are the musical paintings on a canvas placed a little left of center from most Atlanta bands. Standing nearly alone under the gone-but-not-forgotten marquee of noise rock is Atlanta's Black Mollys. Constructed from the ashes of Estrada, the Mollys look to the post-punk guitar noise of bands like the Jesus Lizard, Unsane and even vintage Nirvana as influences. Their bi-polar sound is an inviting detour to those looking for the back alley of the Atlanta music scene. (Hatcher)
__DEZERAY'S HAMMER__ (Sat., 12 a.m., Cotton Club) -- God bless Aaron Whisnant. He has as many melodic chops as any alt-rocker of his generation (Sugar Ray's Mark McGrath included) and continues to turn out gobs of radio-ready tuneage, yet can't convince the music industry to treat him right. His vault of unreleased material (including the still-relevant, permanently shelved 1997 Universal/MCA album by his former band, Albert Hill) would be a goldmine for any label, so there's absolutely no reason why he and his Dezeray's Hammer bandmates Kenny Hogan (drums) and Chris Francisco (bass) aren't already stars. Perhaps their latest self-titled album, loaded as it is with as many hooks as Whisnant could fit into a 74-minute CD, will gain the band the airplay it deserves. Until then, the world will just have to enjoy Dezeray's Hammer onstage and on record. (York)
__THE EX-HUSBANDS__ (Sat., 1 a.m., Echo Lounge) -- Originally from New York City, the Hubs relocated to Nashville a couple of years ago, but have found their niche on the road. After a scorching Bubbapalooza appearance in May, it'll be great to see them back in town for another hot set of hillbilly metal. Their two CDs demonstrate honky tonk know-how, but the live show really earns this band their hardcore reputation. Fine picking and vocals are perfectly complimented by a hard bassline and powerful, steady drumming. Whether whipping out a great original country tune in the style of the mid -'70s Outlaw movement or tearing through a cover of a Black Sabbath song, the Ex-Husbands prove over and over they're a band to be reckoned with. Too bad the Nashville industry is scared to death of anything so exciting. (Kelly)
__FRISBIE__ (Sat., 10 p.m., Tabernacle) -- It doesn't take long to separate the wheat from the chaff in the guitar-jangling, chorus-hoarding, melody-loving power-pop genre, and within a few bars of "Let's Get Started" from Frisbie's debut ''The Subversive Sounds of Love'', I knew I was hooked. Sure this Chicago quintet handily takes care of pop business (ahhh, melody!), but a refreshing fondness for subtle minor key hooks and witty lyrics distinguishes them from all the other frosh at good old Beatles U. Occupying hallowed pop ground roughly between the Hollies and Zumpano, Frisbie may be too clever by half for wide-spread, commercial acceptance, but the shame is ours, not theirs. Fellow pop nuts (and other open-minded souls) are enthusiastically pointed in their direction. (Robertson)
__AMANDA GARRIGUES__ (Thurs., 12:40 a.m., 7 Stages/back) -- Gainesville, Fla., native songwriter Amanda Garrigues first entered the music scene in the late '80s as a member of a band called Big Shoals Tract. Her delicate mix of pretty, swirling melodies over a strong and propulsive percussion set the tone of her current solo, self-released acoustic work on her own label, Average Sinner Records. "I'm really just interested in making good music," she says of her modest operation, "but the business side is very interesting to me as well." A recent alliance with Internet organizations [http://MP3.com/|MP3.com], Indiegrrl and the Society of Independent Musical Artists have featured Garrigues on several compilation CDs and tours. SIMA is a new group fighting for artists rights for digital downloads. "It's the power of the Internet, " she says, "the power of people wanting to make a change." (Smith)
__GENTLE READERS__ (Fri., 10 p.m., Riviera) -- This Decatur-based quartet were one of the highlights of last year's conference. Their easy-going sound recalls the best of '70s New York cool, but with a slice of Southern gothic thrown in to confound and please intelligent listeners. Witty and literate, the Readers can rock with gleeful abandon through pathos-dripping vignettes. Susan Fitzsimmons and Lee Cuthbert keep the Gentle crew rooted in the finest traditions of warm '60s guitar jangle, chilly '70s Manhattan art-school punk, colorful '80s pop smarts and an angular '90s retro bent. With a mix like that, can world domination be far off? (Smith)
__MARK INSLEY__ (Thurs., 11 p.m., Star Bar) -- Mark Insley is one of the contemporary purveyors of the Bakersfield/West Coast country sound popularized by Merle Haggard and Buck Owens, and he does it true to form. His hard to find CD Good Country Junk is a fine collection of tunes, with several members of Dwight Yoakam's band providing instrumentation and production. Vocally, Insley sounds a lot like Jim Lauderdale, and his original songs capture the essence of California twang. He may be virtually unknown in these parts, but supporters of the local Redneck Underground bands will find a kindred spirit in Insley, and he just might surprise the hell out of a lot of folks. (Kelly)
__KICKSTAND__ (Fri., 9 p.m., Star Bar) -- No, that isn't Keith Richards. It's Atlanta's own rockin' Ray Dafrico, Richards' younger and perhaps even more talented lookalike. Over the years Dafrico has played in an assortment of Atlanta bands, going back to the Niteporters in the early '80s (a group which had the distinction of opening for the Clash at the Fox Theater), but lately he's divided his time between the powerhouse rock band Kathleen Turner Overdrive and a much more personal little ensemble, Kickstand, which provides the perfect vehicle for Dafrico's clever, R&B-influenced songwriting and his distinctive, reedy yet smooth voice. Always backed by expert players, Dafrico puts on a fine show. As Tim Nielsen of drivin' n cryin' observed recently, "Ray's always been rock star material, but has never had the chance to be one." (Nicoll)
__JOHNNY KNOX__ (Thurs., 1 a.m., Riviera) -- There are guitar players, and then there are guitar''ists''; and positioned firmly in the latter camp is Atlanta's Johnny Knox. Whether he's fronting his own bluesrockin' trio (whose big-as-Texas sound invites favorable comparison to Stevie Ray Vaughn & Double Trouble) or filling in with the Blacktop Rockets (whose authentic '50s rockabilly evokes the original Johnny Burnette Trio), Knox rocks. With a distinct, eye-catching look -- his hair combed in a two-story black quiff, and his chin darkened by a subtle black Van Dyke -- Knox is one of the rare "gunslinger" guitarists who's been offered endorsement deals both from guitar-makers and the manufacturers of hair-care products. What he's currently hoping for -- and richly deserves -- is similar attention from a record label. (Nicoll)
__GRETA LEE__ (Thurs., 12 a.m., Star Bar) -- If Merle Haggard was an attractive young woman, he might well be Greta Lee. Proudly a fixture on Atlanta's Redneck Underground scene -- as well as a regular at various acoustic venues -- Ms. Lee writes original country tunes which could match Merle's own bottle-for-bottle. Often clad in buckskin and tossing her head back joyfully as she plays guitar with her band, Lee also invites comparison to classic female country stars such as Loretta Lynn and Patsy Cline. For a number of years now she's had the good fortune to include guitarist John Byrd in her core stage band. Byrd's remarkable talent for wringing pedal steel sounds out of an electric guitar has been a tremendous asset to Lee's sparkling concert performances. (Nicoll)
__LIFT__ (Fri., 9 p.m., Echo Lounge) -- If it took the world more than a decade to recognize Aimee Mann's exquisite songwriting, then Molly Bancroft's day in the sun is surely nigh. Her band Lift has been on the road and in and out of the studio for years, putting out consistently killer independent releases (last year's EP ''September'' is a standout) and garnering a huge fanbase, both live and on the Internet. Originally a quartet, Lift gracefully weathered personnel changes in the late '90s, but have come into their own as a power trio, with Bancroft, original bassist Julie Clark and drummer Simone Simonton intact. The girls' reputation as a kick-ass-yet-sensitive all-chick band is no longer the only thing that precedes them; by now everyone knows it's the energy and emotional crescendo of songs such as "Let It Out" and "Even If (It Is Love)" that keep crowds coming back for more. (York)
__MOE LOUGHRAN__ (Thurs., 9 p.m., Riviera) -- Nashville-based Loughran is a talented singer/songwriter currently in the middle of a major-label bidding war. Several record companies are flying in to check her out, so it seems she'll be recording for a big label in the very near future. Loughran currently tours the U.S. frequently and records demos and jingles for national accounts during stop-overs in Nashville. Her performance at Woodstock '99 so impressed industry big-wigs that showcases were immediately set-up for the attractive red-head and her band. The Loughran gig seems destined to be the place to be for A&R spotting and some good music as well. (Smith)
__MYSSOURI__ (Thurs., 12 a.m., Echo Lounge) -- Fronted by Michael Bradley, whose shaved-bald head gleams like an exposed bone, Myssouri is a mystical Atlanta-based darkwave band who cast themselves in the tradition of Nick Cave and the Bad Seeds -- with a generous dollop of 16 Horsepower's gloomy and haunting 19th century spirit and a hint of grandeur drawn from a galloping Ennio Morricone spaghetti western film score. Bradley's voice is deep and expressive, his songs chilling and memorable, and the group's stage presentation nearly hypnotic. Though by no means a goth band, Myssouri draws plenty of fans from the dark-eyeliner set, yet their appeal goes well beyond music scene factionalism. (Nicoll)
__PSYCHEDELIC FURS__ (Fri., 12 a.m., Tabernacle) -- In rare form on the Go-Go's/B-52's Summer Road Trip tour, the reformed Psychedelic Furs -- Richard Butler, his brother Tim and guitarist John Ashton, along with a couple of guys Butler brought along from his mid-90s band Love Spit Love -- won over the audience (an odd mix of grown-up frat kids, fag hags and drag queens). It wasn't just the ring of the oldies ("Pretty in Pink," "The Ghost in You," "Love My Way") that got the crowd hip-swaying and arm-waving, but also a few new songs from the band. Droning guitars, complemented by flecks of minor-key synthesizer riffs and Richard Butler's distinctively English vocals, are still the band's talent, and their flair for onstage drama is as present today as it was in the '80s. And what's more, Butler still looks good in black. (York)
__DORIA ROBERTS__ (Thurs., 10:40 p.m., 7 Stages/back) -- One of Atlanta's most popular acoustic musicians, Doria Roberts has been perched on the teetering precipice of success for so long, it's just a matter of time before something gives. Not only has she earned notice for her unique combination of jazz, soul, blues and folk (gotta love that cello in her combo), but her high profile work as founder of Queerstock has provided essential national visibility. Roberts' local fans are so dedicated, they pay for her albums before they're even recorded, giving the perennially cash-strapped singer much needed financial resources to keep her going. Politically correct, but far from preachy, Roberts connects on stage with her self-confidence, determination, effortlessly melodic tunes and a heartfelt, soulful and instantly distinctive voice. (Horowitz)
__SMITHWICK MACHINE__ (Sat., 10 p.m., Dark Horse Tavern) -- Scorching out of Alabama at damn near the speed of sound comes Smithwick Machine, ferociously paced rockers whose wild, fasten-your-seatbelts blast recalls the motor-revving of the MC5, the raw power of the Stooges and the fuzz tone bomp of the Ramones. There are also elements of glam and arena rock in the Machine's presentation, ranging from the sometimes wild outfits the boys wear to the gold metalflake finish on frontman Sam Smithwick's Les Paul guitar (which he slings so low it often bounces against his knees). (Nicoll)
__STAR ROOM BOYS__ (Sat., 11 p.m., Echo Lounge)-- If you want real country played real good, Athens' dad-blamed Star Room Boys have given the world some of the best in recent memory on their recent ''Why Do Lonely Men and Women Break Each Other's Hearts?'' This ain't '70s Southern rock or slick Shania polish, it's modern country as it used to be. No gimmicks and no looking back. Just tales of regret, hurt, longing and plenty of attitude. The Star Room Boys personify the Bakersfield sound that pioneers like Merle Haggard and Buck Owens branded in the '60s. In a just world you'd hear a song like the Boys' "Gastonia" next to rare purists such as George Strait or Patty Loveless on the clear channel country giants. Dave Marr is heir apparent to Dwight Yoakam's pure western nasal baritone. You can almost imagine looking down at the turntable and seeing that '60s Capitol Records swirl label spinning as the band plays. (Smith)
__SWAN DIVE__ (Thurs., 1 a.m., 7 Stages/front) -- Nashville-based duo Swan Dive are not the typical Music City hat 'n' beltbuckle act. In fact, Bill DeMain and Molly Felder are more akin to the swingin' cool sounds of Burt Bacharach and Hal David than Brooks and Dunn. Their lush, laid-back arrangements recall '60s movie soundtracks and the samba shuffles of Antonio Carlos Jobim. DeMain says Swan Dive's main goal is to present a delightful pattern of textures within a body of work. "We make the studio our laboratory," he says, "and experiment with sounds and moods as we create." Wildly popular in Japan, Swan Dive have released several collections in Asia and their recent self-titled domestic album gathers the best of their wonderfully restrained and refreshingly innocent atmospheric pop music. (Smith)
__TIFT MERRITT & THE CARBINES__ (Sat., 10 p.m., Echo Lounge) -- North Carolina's sweetheart of the rodeo has long been poised to be the next big thing in the Americana scene, but business seems to keep getting in the way. Merritt's enchanting voice and stage presence suggests she's the heiress apparent to Emmylou Harris. The buzz is based on a 7-inch single with the Carbines, her recorded vocal duets with the Two Dollar Pistols and several serendipitous live performances. Merritt won big in the original song contest at Merlefest and wowed a rowdy SXSW crowd this year. She was heavily courted by big indie label Sugar Hill, but somehow, she's looking for a deal again. Somebody out there is gonna make it happen. Let's hope it's soon. (Kelly)
__TWO DOLLAR PISTOLS__ (Sat., 12 a.m., Echo Lounge) -- Towering frontman John Howie grew up listening to country music but later, as a rebellious teenager, lost himself in punk rock. He never forgot his roots, though, and after witnessing the nascent country/rock scene in North Carolina, Howie found himself turning back to the tunes of his faraway childhood. The eventual result was the Two Dollar Pistols, a band in which his rich voice -- which compares favorably to that of X's John Doe -- brings to life an almost forgotten era of Nashville's history, back when real men like George Jones and Ernest Tubb ruled the charts and when bar songs were written by men who drank Jack Daniels instead of Evian. The Two Dollar Pistols are packin' heat, loaded and ready for the second coming of Real Country. (Nicoll)
__SONYA VETRA__ (Sat., 1 a.m., 7 Stages/front) -- Conference veteran Vetra has played her soulful rock all over the world. At home in England as well as in home state of Georgia, Vetra's verve and vigor are infectious and heartwarming. Aided by her right-hand man Jeep Hook, the former Talk Talk guitarist and songwriter, Vetra delivers a set of intense and rocking tunes. Vetra (pronounced ''Vee-tra'') stands with perfect poise, ready to become a household name. Recent contract developments may have the always-smiling singer signed to a deal soon, report insiders. But the surest bet will be the totally satisfying set she'll perform. A star in the making, Vetra is a delight. If previous Atlantis shows are any indication, definitely worth watching up-close during her intimate conference performance. (Smith)
__BETH WOOD__ (Fri., 10 p.m., 7 Stages/front) -- Lubbock, Texas-born Beth Wood is a classically-trained violinist who switched to guitar in college and gravitated to the Austin music scene. Now an Atlantan, by way of Asheville, N.C., Wood tours constantly and has released three solo albums. Her charming shows appeal to the folk crowd and rock fans equally. "I'm basically a rock 'n' roll person," Wood says. "But I reserve the right to be a folkie." Wood varies her approach from sultry, blues-based jazz stylings, to contemporary folk to frenzied rockers in the span of a set. A versatile artist and songwriter, Wood has earned considerable nationwide airplay and exposure, thanks to a recent tour with jam-rockers Jupiter Coyote. Wood's sense of humor and easy-going performance style is disarming and warm. (Smith)
__THE X-IMPOSSIBLES__ (Sat, 1 a.m., Star Bar) -- Anchored by the husband and wife team of Tim Lumley (vocals) and Heidi Lumley (guitar), the X-Impossibles are a refreshingly sane punk rock band who look back nostalgically on the '70s CBGB's scene and breathe fiery new life into that vintage sound. Their re-creation of the explosive Dolls/Stooges spirit is so inspiring, former New York Dolls guitarist Sylvain Sylvain sat in with them several times. Currently pounding the kit for the X-Imps is Morgan Engle, half of a rhythm section that also includes bassist Gary Yoxen, formerly of the hardcore crunchers Time Bomb '77. Handsome lead guitarist Shawn Christian rounds out the frantic five-piece. (Nicoll)
__YOUNG ANTIQUES__ (Fri., 12 a.m., Star Bar) -- An interesting hybrid of new wave, punk and country, the Blake Rainey and band's blend of pure pop and '60s twang will keep the Antiques' store open late at the Star Bar. Playing a cool midnight set of older material and a sampling of songs from their upcoming album, ''Wardrobe for a Jet Weekend'', the 'Tiques always have a contagiously good time. A sure highlight of the conference, the band have been known to throw in the odd cover, so be on your toes for an obscure nugget curve-ball. Die-hard fans may want to request the Replacements' "Talent Show" as an appropriate ode to the Conference. (Smith)??
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string(21666) " Vibes Feature 773 2020-04-04T21:07:04+00:00 vibes_feature-773.jpeg atlantis conference CL picks the best of the batch 30320 2000-08-12T04:04:00+00:00 Atlantis menu ben.eason@creativeloafing.com Ben Eason 2000-08-12T04:04:00+00:00 More on Atlantis:
Why you might not find your favorite local bands at Atlantis.
>Atlantis conference embraces black music with its urban symposium.
Let the industry folks figure out for themselves which of the 200-plus acts might make them rich. These Atlantis showcase picks represent some of what our music critics figure will at least make conference attendees happy they came.
ADOM (Thurs., 1 a.m., Cotton Club) — On paper at least, what this young Atlanta band attempts just shouldn't fly: a laid-back trip-hop groove, layered with equal parts Eno-esque atmospherics and radio-ready melodies, topped-off with a singer who evokes more than a passing vocal similarity to Sting. Egads — pass the Motorhead discs! But amazingly, it does work, at times quite beautifully. Adom possess an ineffable originality that acknowledges musical debts without blatantly aping them. Thus while Portishead's brittle grooves permeate their songs, the band eschews Euro-cool detachment for a warmer, dare-I-say sexier groove that connects emotionally and intellectually. As for the Sting thing, let's just say that self-important, crusty old fart hasn't sounded this enthusiastic — or downright lusty — since he sang about hookers. Adom, throwing caution (not to mention commercial viability) to the wind, seem hellbent on pursuing their own musical path. In a world rife with cookie-cutter mentalities, that's a damn refreshing conceit indeed. (Robertson)
AUDRA AND THE ANTIDOTE (Fri., 10 p.m., Echo Lounge) — New-wavers Audra and the Antidote may be the only band to feature a contortionist lead singer. The quirky Nashville-based group opens its set with an instrumental as frontwoman Audra Coldiron performs gravity-defying poses centerstage. Coldiron is a powerful audio/visual treat. When she's not banging chords on a Rickenbacker as her band rages behind her or using a telephone as a microphone, she's doing handstands, backbends and all sorts of athletics during the instrumental breaks. With their MP3 hit "Jenny's Got a Boyfriend" as the usual set closer, Audra and company should be just the Antidote for a cool evening of danceable and candy-coated pop rock goodies. (Smith)
BLACK MOLLYS (Sat., 9 p.m., Star Bar) — "Kirkwood," exclaims a violent answering machine voice. The story seems urgent. Vocal lines yell out familiar Cabbagetown street names from the 7-inch vinyl. The voice is like that of some fallen teenager from a pulp junky novel looking for the all-important medication. Such are the musical paintings on a canvas placed a little left of center from most Atlanta bands. Standing nearly alone under the gone-but-not-forgotten marquee of noise rock is Atlanta's Black Mollys. Constructed from the ashes of Estrada, the Mollys look to the post-punk guitar noise of bands like the Jesus Lizard, Unsane and even vintage Nirvana as influences. Their bi-polar sound is an inviting detour to those looking for the back alley of the Atlanta music scene. (Hatcher)
DEZERAY'S HAMMER (Sat., 12 a.m., Cotton Club) — God bless Aaron Whisnant. He has as many melodic chops as any alt-rocker of his generation (Sugar Ray's Mark McGrath included) and continues to turn out gobs of radio-ready tuneage, yet can't convince the music industry to treat him right. His vault of unreleased material (including the still-relevant, permanently shelved 1997 Universal/MCA album by his former band, Albert Hill) would be a goldmine for any label, so there's absolutely no reason why he and his Dezeray's Hammer bandmates Kenny Hogan (drums) and Chris Francisco (bass) aren't already stars. Perhaps their latest self-titled album, loaded as it is with as many hooks as Whisnant could fit into a 74-minute CD, will gain the band the airplay it deserves. Until then, the world will just have to enjoy Dezeray's Hammer onstage and on record. (York)
THE EX-HUSBANDS (Sat., 1 a.m., Echo Lounge) — Originally from New York City, the Hubs relocated to Nashville a couple of years ago, but have found their niche on the road. After a scorching Bubbapalooza appearance in May, it'll be great to see them back in town for another hot set of hillbilly metal. Their two CDs demonstrate honky tonk know-how, but the live show really earns this band their hardcore reputation. Fine picking and vocals are perfectly complimented by a hard bassline and powerful, steady drumming. Whether whipping out a great original country tune in the style of the mid -'70s Outlaw movement or tearing through a cover of a Black Sabbath song, the Ex-Husbands prove over and over they're a band to be reckoned with. Too bad the Nashville industry is scared to death of anything so exciting. (Kelly)
FRISBIE (Sat., 10 p.m., Tabernacle) — It doesn't take long to separate the wheat from the chaff in the guitar-jangling, chorus-hoarding, melody-loving power-pop genre, and within a few bars of "Let's Get Started" from Frisbie's debut The Subversive Sounds of Love, I knew I was hooked. Sure this Chicago quintet handily takes care of pop business (ahhh, melody!), but a refreshing fondness for subtle minor key hooks and witty lyrics distinguishes them from all the other frosh at good old Beatles U. Occupying hallowed pop ground roughly between the Hollies and Zumpano, Frisbie may be too clever by half for wide-spread, commercial acceptance, but the shame is ours, not theirs. Fellow pop nuts (and other open-minded souls) are enthusiastically pointed in their direction. (Robertson)
AMANDA GARRIGUES (Thurs., 12:40 a.m., 7 Stages/back) — Gainesville, Fla., native songwriter Amanda Garrigues first entered the music scene in the late '80s as a member of a band called Big Shoals Tract. Her delicate mix of pretty, swirling melodies over a strong and propulsive percussion set the tone of her current solo, self-released acoustic work on her own label, Average Sinner Records. "I'm really just interested in making good music," she says of her modest operation, "but the business side is very interesting to me as well." A recent alliance with Internet organizations MP3.com, Indiegrrl and the Society of Independent Musical Artists have featured Garrigues on several compilation CDs and tours. SIMA is a new group fighting for artists rights for digital downloads. "It's the power of the Internet, " she says, "the power of people wanting to make a change." (Smith)
GENTLE READERS (Fri., 10 p.m., Riviera) — This Decatur-based quartet were one of the highlights of last year's conference. Their easy-going sound recalls the best of '70s New York cool, but with a slice of Southern gothic thrown in to confound and please intelligent listeners. Witty and literate, the Readers can rock with gleeful abandon through pathos-dripping vignettes. Susan Fitzsimmons and Lee Cuthbert keep the Gentle crew rooted in the finest traditions of warm '60s guitar jangle, chilly '70s Manhattan art-school punk, colorful '80s pop smarts and an angular '90s retro bent. With a mix like that, can world domination be far off? (Smith)
MARK INSLEY (Thurs., 11 p.m., Star Bar) — Mark Insley is one of the contemporary purveyors of the Bakersfield/West Coast country sound popularized by Merle Haggard and Buck Owens, and he does it true to form. His hard to find CD Good Country Junk is a fine collection of tunes, with several members of Dwight Yoakam's band providing instrumentation and production. Vocally, Insley sounds a lot like Jim Lauderdale, and his original songs capture the essence of California twang. He may be virtually unknown in these parts, but supporters of the local Redneck Underground bands will find a kindred spirit in Insley, and he just might surprise the hell out of a lot of folks. (Kelly)
KICKSTAND (Fri., 9 p.m., Star Bar) — No, that isn't Keith Richards. It's Atlanta's own rockin' Ray Dafrico, Richards' younger and perhaps even more talented lookalike. Over the years Dafrico has played in an assortment of Atlanta bands, going back to the Niteporters in the early '80s (a group which had the distinction of opening for the Clash at the Fox Theater), but lately he's divided his time between the powerhouse rock band Kathleen Turner Overdrive and a much more personal little ensemble, Kickstand, which provides the perfect vehicle for Dafrico's clever, R&B-influenced songwriting and his distinctive, reedy yet smooth voice. Always backed by expert players, Dafrico puts on a fine show. As Tim Nielsen of drivin' n cryin' observed recently, "Ray's always been rock star material, but has never had the chance to be one." (Nicoll)
JOHNNY KNOX (Thurs., 1 a.m., Riviera) — There are guitar players, and then there are guitarists; and positioned firmly in the latter camp is Atlanta's Johnny Knox. Whether he's fronting his own bluesrockin' trio (whose big-as-Texas sound invites favorable comparison to Stevie Ray Vaughn & Double Trouble) or filling in with the Blacktop Rockets (whose authentic '50s rockabilly evokes the original Johnny Burnette Trio), Knox rocks. With a distinct, eye-catching look — his hair combed in a two-story black quiff, and his chin darkened by a subtle black Van Dyke — Knox is one of the rare "gunslinger" guitarists who's been offered endorsement deals both from guitar-makers and the manufacturers of hair-care products. What he's currently hoping for — and richly deserves — is similar attention from a record label. (Nicoll)
GRETA LEE (Thurs., 12 a.m., Star Bar) — If Merle Haggard was an attractive young woman, he might well be Greta Lee. Proudly a fixture on Atlanta's Redneck Underground scene — as well as a regular at various acoustic venues — Ms. Lee writes original country tunes which could match Merle's own bottle-for-bottle. Often clad in buckskin and tossing her head back joyfully as she plays guitar with her band, Lee also invites comparison to classic female country stars such as Loretta Lynn and Patsy Cline. For a number of years now she's had the good fortune to include guitarist John Byrd in her core stage band. Byrd's remarkable talent for wringing pedal steel sounds out of an electric guitar has been a tremendous asset to Lee's sparkling concert performances. (Nicoll)
LIFT (Fri., 9 p.m., Echo Lounge) — If it took the world more than a decade to recognize Aimee Mann's exquisite songwriting, then Molly Bancroft's day in the sun is surely nigh. Her band Lift has been on the road and in and out of the studio for years, putting out consistently killer independent releases (last year's EP September is a standout) and garnering a huge fanbase, both live and on the Internet. Originally a quartet, Lift gracefully weathered personnel changes in the late '90s, but have come into their own as a power trio, with Bancroft, original bassist Julie Clark and drummer Simone Simonton intact. The girls' reputation as a kick-ass-yet-sensitive all-chick band is no longer the only thing that precedes them; by now everyone knows it's the energy and emotional crescendo of songs such as "Let It Out" and "Even If (It Is Love)" that keep crowds coming back for more. (York)
MOE LOUGHRAN (Thurs., 9 p.m., Riviera) — Nashville-based Loughran is a talented singer/songwriter currently in the middle of a major-label bidding war. Several record companies are flying in to check her out, so it seems she'll be recording for a big label in the very near future. Loughran currently tours the U.S. frequently and records demos and jingles for national accounts during stop-overs in Nashville. Her performance at Woodstock '99 so impressed industry big-wigs that showcases were immediately set-up for the attractive red-head and her band. The Loughran gig seems destined to be the place to be for A&R spotting and some good music as well. (Smith)
MYSSOURI (Thurs., 12 a.m., Echo Lounge) — Fronted by Michael Bradley, whose shaved-bald head gleams like an exposed bone, Myssouri is a mystical Atlanta-based darkwave band who cast themselves in the tradition of Nick Cave and the Bad Seeds — with a generous dollop of 16 Horsepower's gloomy and haunting 19th century spirit and a hint of grandeur drawn from a galloping Ennio Morricone spaghetti western film score. Bradley's voice is deep and expressive, his songs chilling and memorable, and the group's stage presentation nearly hypnotic. Though by no means a goth band, Myssouri draws plenty of fans from the dark-eyeliner set, yet their appeal goes well beyond music scene factionalism. (Nicoll)
PSYCHEDELIC FURS (Fri., 12 a.m., Tabernacle) — In rare form on the Go-Go's/B-52's Summer Road Trip tour, the reformed Psychedelic Furs — Richard Butler, his brother Tim and guitarist John Ashton, along with a couple of guys Butler brought along from his mid-90s band Love Spit Love — won over the audience (an odd mix of grown-up frat kids, fag hags and drag queens). It wasn't just the ring of the oldies ("Pretty in Pink," "The Ghost in You," "Love My Way") that got the crowd hip-swaying and arm-waving, but also a few new songs from the band. Droning guitars, complemented by flecks of minor-key synthesizer riffs and Richard Butler's distinctively English vocals, are still the band's talent, and their flair for onstage drama is as present today as it was in the '80s. And what's more, Butler still looks good in black. (York)
DORIA ROBERTS (Thurs., 10:40 p.m., 7 Stages/back) — One of Atlanta's most popular acoustic musicians, Doria Roberts has been perched on the teetering precipice of success for so long, it's just a matter of time before something gives. Not only has she earned notice for her unique combination of jazz, soul, blues and folk (gotta love that cello in her combo), but her high profile work as founder of Queerstock has provided essential national visibility. Roberts' local fans are so dedicated, they pay for her albums before they're even recorded, giving the perennially cash-strapped singer much needed financial resources to keep her going. Politically correct, but far from preachy, Roberts connects on stage with her self-confidence, determination, effortlessly melodic tunes and a heartfelt, soulful and instantly distinctive voice. (Horowitz)
SMITHWICK MACHINE (Sat., 10 p.m., Dark Horse Tavern) — Scorching out of Alabama at damn near the speed of sound comes Smithwick Machine, ferociously paced rockers whose wild, fasten-your-seatbelts blast recalls the motor-revving of the MC5, the raw power of the Stooges and the fuzz tone bomp of the Ramones. There are also elements of glam and arena rock in the Machine's presentation, ranging from the sometimes wild outfits the boys wear to the gold metalflake finish on frontman Sam Smithwick's Les Paul guitar (which he slings so low it often bounces against his knees). (Nicoll)
STAR ROOM BOYS (Sat., 11 p.m., Echo Lounge)-- If you want real country played real good, Athens' dad-blamed Star Room Boys have given the world some of the best in recent memory on their recent Why Do Lonely Men and Women Break Each Other's Hearts? This ain't '70s Southern rock or slick Shania polish, it's modern country as it used to be. No gimmicks and no looking back. Just tales of regret, hurt, longing and plenty of attitude. The Star Room Boys personify the Bakersfield sound that pioneers like Merle Haggard and Buck Owens branded in the '60s. In a just world you'd hear a song like the Boys' "Gastonia" next to rare purists such as George Strait or Patty Loveless on the clear channel country giants. Dave Marr is heir apparent to Dwight Yoakam's pure western nasal baritone. You can almost imagine looking down at the turntable and seeing that '60s Capitol Records swirl label spinning as the band plays. (Smith)
SWAN DIVE (Thurs., 1 a.m., 7 Stages/front) — Nashville-based duo Swan Dive are not the typical Music City hat 'n' beltbuckle act. In fact, Bill DeMain and Molly Felder are more akin to the swingin' cool sounds of Burt Bacharach and Hal David than Brooks and Dunn. Their lush, laid-back arrangements recall '60s movie soundtracks and the samba shuffles of Antonio Carlos Jobim. DeMain says Swan Dive's main goal is to present a delightful pattern of textures within a body of work. "We make the studio our laboratory," he says, "and experiment with sounds and moods as we create." Wildly popular in Japan, Swan Dive have released several collections in Asia and their recent self-titled domestic album gathers the best of their wonderfully restrained and refreshingly innocent atmospheric pop music. (Smith)
TIFT MERRITT & THE CARBINES (Sat., 10 p.m., Echo Lounge) — North Carolina's sweetheart of the rodeo has long been poised to be the next big thing in the Americana scene, but business seems to keep getting in the way. Merritt's enchanting voice and stage presence suggests she's the heiress apparent to Emmylou Harris. The buzz is based on a 7-inch single with the Carbines, her recorded vocal duets with the Two Dollar Pistols and several serendipitous live performances. Merritt won big in the original song contest at Merlefest and wowed a rowdy SXSW crowd this year. She was heavily courted by big indie label Sugar Hill, but somehow, she's looking for a deal again. Somebody out there is gonna make it happen. Let's hope it's soon. (Kelly)
TWO DOLLAR PISTOLS (Sat., 12 a.m., Echo Lounge) — Towering frontman John Howie grew up listening to country music but later, as a rebellious teenager, lost himself in punk rock. He never forgot his roots, though, and after witnessing the nascent country/rock scene in North Carolina, Howie found himself turning back to the tunes of his faraway childhood. The eventual result was the Two Dollar Pistols, a band in which his rich voice — which compares favorably to that of X's John Doe — brings to life an almost forgotten era of Nashville's history, back when real men like George Jones and Ernest Tubb ruled the charts and when bar songs were written by men who drank Jack Daniels instead of Evian. The Two Dollar Pistols are packin' heat, loaded and ready for the second coming of Real Country. (Nicoll)
SONYA VETRA (Sat., 1 a.m., 7 Stages/front) — Conference veteran Vetra has played her soulful rock all over the world. At home in England as well as in home state of Georgia, Vetra's verve and vigor are infectious and heartwarming. Aided by her right-hand man Jeep Hook, the former Talk Talk guitarist and songwriter, Vetra delivers a set of intense and rocking tunes. Vetra (pronounced Vee-tra) stands with perfect poise, ready to become a household name. Recent contract developments may have the always-smiling singer signed to a deal soon, report insiders. But the surest bet will be the totally satisfying set she'll perform. A star in the making, Vetra is a delight. If previous Atlantis shows are any indication, definitely worth watching up-close during her intimate conference performance. (Smith)
BETH WOOD (Fri., 10 p.m., 7 Stages/front) — Lubbock, Texas-born Beth Wood is a classically-trained violinist who switched to guitar in college and gravitated to the Austin music scene. Now an Atlantan, by way of Asheville, N.C., Wood tours constantly and has released three solo albums. Her charming shows appeal to the folk crowd and rock fans equally. "I'm basically a rock 'n' roll person," Wood says. "But I reserve the right to be a folkie." Wood varies her approach from sultry, blues-based jazz stylings, to contemporary folk to frenzied rockers in the span of a set. A versatile artist and songwriter, Wood has earned considerable nationwide airplay and exposure, thanks to a recent tour with jam-rockers Jupiter Coyote. Wood's sense of humor and easy-going performance style is disarming and warm. (Smith)
THE X-IMPOSSIBLES (Sat, 1 a.m., Star Bar) — Anchored by the husband and wife team of Tim Lumley (vocals) and Heidi Lumley (guitar), the X-Impossibles are a refreshingly sane punk rock band who look back nostalgically on the '70s CBGB's scene and breathe fiery new life into that vintage sound. Their re-creation of the explosive Dolls/Stooges spirit is so inspiring, former New York Dolls guitarist Sylvain Sylvain sat in with them several times. Currently pounding the kit for the X-Imps is Morgan Engle, half of a rhythm section that also includes bassist Gary Yoxen, formerly of the hardcore crunchers Time Bomb '77. Handsome lead guitarist Shawn Christian rounds out the frantic five-piece. (Nicoll)
YOUNG ANTIQUES (Fri., 12 a.m., Star Bar) — An interesting hybrid of new wave, punk and country, the Blake Rainey and band's blend of pure pop and '60s twang will keep the Antiques' store open late at the Star Bar. Playing a cool midnight set of older material and a sampling of songs from their upcoming album, Wardrobe for a Jet Weekend, the 'Tiques always have a contagiously good time. A sure highlight of the conference, the band have been known to throw in the odd cover, so be on your toes for an obscure nugget curve-ball. Die-hard fans may want to request the Replacements' "Talent Show" as an appropriate ode to the Conference. (Smith)??
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CL picks the best of the batch
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string(2556) "Winners and losers, part one: At Wednesday night's Atlantis kick-off event, the Atlanta Local Music Awards, the Tabernacle won for best venue. However, the crowd — which had to endure a terribly murky mix at the Tabernacle, where the event was held — clearly lost.
We wuz robbed: While debating the correct spelling of the Black Mollies (or Mollys?), it never dawned on us that there might be two different groups out there. But when we showed up at the Star Bar Saturday for their showcase, sure enough, it was Kansas City's pop-punk trio the Black Mollys on stage, not the more transgressive Atlantan Black Mollies. Come to think of it, the Mollies did seem an odd fit for Atlantis anyway.
Winners and losers, part two: In accepting the ASCAP Songwriters Award at the ALMAs, pie-faced, fair-voiced lad John Mayer sang a verse by Simon and Garfunkel, which he claimed to have written himself. Leaving no doubt he was completely certifiable, Mayer then went outside and struck Heisman Trophy-style poses while clutching his gleaming prize. Mayer won again by getting two showcase opportunities, and both after 11 p.m. Others, who were forced to perform for the bartenders during poorly-attended earlier time slots, were not so fortunate.
Atlantis' Negro problem: Despite good intentions, the fencing off of black music into the Urban Symposium was the best reason to be embarrassed by the conference. While paying lip service to inclusiveness, urban events at Studio Central were not even included in the Atlantis guide's nightly showcase listings — no wonder they were virtually unattended by white registrants. Further display of an illogical white bias came at the ALMAs, with the nominees for the favorite signed artist award: Collective Soul, Marvelous 3 and the winner, Shawn Mullins. Immediately following, Goodie Mob hit the stage and, for the first time all night, the mostly white crowd looked like they were having fun. Relegated to best rap act, Goodie Mob served to remind us of at least a dozen signed local black acts that are more entertaining and/or better-selling than the above-mentioned nominees.
But ... why? The Psychedelic Furs' Friday showcase at the Tabernacle.
Stealin' Thunder Revue: "Welcome to Atlantis 2000!" bellowed guitarist Billy Rat at Smith's Olde Bar Saturday night, where his band, Truckadelic, and another top area act, the Drive-By Truckers, played for a packed and rowdy crowd. Thing is, Smith's was not an Atlantis venue. — R.S., with writing and reporting by Lee Smith and Greg Nicoll
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We wuz robbed: While debating the correct spelling of the Black Mollies (or Mollys?), it never dawned on us that there might be two different groups out there. But when we showed up at the Star Bar Saturday for their showcase, sure enough, it was Kansas City's pop-punk trio the Black Mollys on stage, not the more transgressive Atlantan Black Mollies. Come to think of it, the Mollies did seem an odd fit for Atlantis anyway.
Winners and losers, part two: In accepting the ASCAP Songwriters Award at the ALMAs, pie-faced, fair-voiced lad John Mayer sang a verse by Simon and Garfunkel, which he claimed to have written himself. Leaving no doubt he was completely certifiable, Mayer then went outside and struck Heisman Trophy-style poses while clutching his gleaming prize. Mayer won again by getting two showcase opportunities, and both after 11 p.m. Others, who were forced to perform for the bartenders during poorly-attended earlier time slots, were not so fortunate.
Atlantis' Negro problem: Despite good intentions, the fencing off of black music into the Urban Symposium was the best reason to be embarrassed by the conference. While paying lip service to inclusiveness, urban events at Studio Central were not even included in the Atlantis guide's nightly showcase listings — no wonder they were virtually unattended by white registrants. Further display of an illogical white bias came at the ALMAs, with the nominees for the favorite signed artist award: Collective Soul, Marvelous 3 and the winner, Shawn Mullins. Immediately following, Goodie Mob hit the stage and, for the first time all night, the mostly white crowd looked like they were having fun. Relegated to best rap act, Goodie Mob served to remind us of at least a dozen signed local black acts that are more entertaining and/or better-selling than the above-mentioned nominees.
But ... why? The Psychedelic Furs' Friday showcase at the Tabernacle.
Stealin' Thunder Revue: "Welcome to Atlantis 2000!" bellowed guitarist Billy Rat at Smith's Olde Bar Saturday night, where his band, Truckadelic, and another top area act, the Drive-By Truckers, played for a packed and rowdy crowd. Thing is, Smith's was not an Atlantis venue. — R.S., with writing and reporting by Lee Smith and Greg Nicoll
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string(2942) " Earshot 828 2020-04-04T21:05:38+00:00 earshot-828.jpeg atlantis conference Atlantis Music Conference 2000 Highlights 30319 2000-08-19T04:04:00+00:00 Atlantis 2000: highlights and dim bulbs ben.eason@creativeloafing.com Ben Eason 2000-08-19T04:04:00+00:00 Winners and losers, part one: At Wednesday night's Atlantis kick-off event, the Atlanta Local Music Awards, the Tabernacle won for best venue. However, the crowd — which had to endure a terribly murky mix at the Tabernacle, where the event was held — clearly lost.
We wuz robbed: While debating the correct spelling of the Black Mollies (or Mollys?), it never dawned on us that there might be two different groups out there. But when we showed up at the Star Bar Saturday for their showcase, sure enough, it was Kansas City's pop-punk trio the Black Mollys on stage, not the more transgressive Atlantan Black Mollies. Come to think of it, the Mollies did seem an odd fit for Atlantis anyway.
Winners and losers, part two: In accepting the ASCAP Songwriters Award at the ALMAs, pie-faced, fair-voiced lad John Mayer sang a verse by Simon and Garfunkel, which he claimed to have written himself. Leaving no doubt he was completely certifiable, Mayer then went outside and struck Heisman Trophy-style poses while clutching his gleaming prize. Mayer won again by getting two showcase opportunities, and both after 11 p.m. Others, who were forced to perform for the bartenders during poorly-attended earlier time slots, were not so fortunate.
Atlantis' Negro problem: Despite good intentions, the fencing off of black music into the Urban Symposium was the best reason to be embarrassed by the conference. While paying lip service to inclusiveness, urban events at Studio Central were not even included in the Atlantis guide's nightly showcase listings — no wonder they were virtually unattended by white registrants. Further display of an illogical white bias came at the ALMAs, with the nominees for the favorite signed artist award: Collective Soul, Marvelous 3 and the winner, Shawn Mullins. Immediately following, Goodie Mob hit the stage and, for the first time all night, the mostly white crowd looked like they were having fun. Relegated to best rap act, Goodie Mob served to remind us of at least a dozen signed local black acts that are more entertaining and/or better-selling than the above-mentioned nominees.
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Atlantis 2000: highlights and dim bulbs Article
Saturday August 19, 2000 12:04 am EDT
Atlantis Music Conference 2000 Highlights
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string(3942) "Atlantis goes hip-hop1 celeb, 3 panelists make nice to LangBY LANG WHITAKER
It's been three years since the Atlantis Music Conference hit town, and several bands have gotten major label deals as a result. The weekend-long gig is a mixture of concerts and panels. This year, for the first time, extensive attention was given to Atlanta's booming urban music scene. Months ago, I accepted an invitation to serve on the "Covering Hip-Hop, Whose Story Is It Anyway?" panel Aug. 11 at Studio Central downtown. A few weeks before the panel took place, the Atlanta Press Club sent out flyers announcing the panel, noting that conversation would focus on the question: "Can a predominantly white media industry fairly cover a predominantly black music genre?" Though I thought the panel was supposed to be about the music and not the color, I went ahead with my plans to participate. I did find it odd that my name was listed first on the flyer. "Come needle the white boy!" was all that was missing.
When the event finally went down last weekend, my anxieties were running high. But it went smoothly. CL's own Rhonda Baraka moderated the panel impeccably; fellow panelists, AJC writer Sonia Murray and Noontime Recordings' Johnathan Floyd, contributed to the exchange.
Everyone seemed to quickly dismiss the race card as irrelevant. My favorite moment: Michael Fields, Southern bureau chief for National Public Radio stood up and asked a question about the hip-hop culture, mentioning "one of the Geto Boyz, I believe it was the short gentleman," perhaps marking the first time that midget rapper Bushwick Bill has ever been referred to as a gentleman.
Return of the Fan?: WCNN 680's plans to develop an all-black talk radio format have fallen by the wayside. The station recently announced plans to resurrect the all-sports format it popularized in the early '90s.
Rumor has WCNN trying to woo popular 790 the Zone anchor Chris Dimino, though Dimino has told friends that he isn't going anywhere.
To compete with the Zone, WCNN is calling in the big guns: former Thrashers play-by-play announcer Scott Ferrall's syndicated show from L.A. will reportedly be part of the lineup, with Ferrall making bi-weekly visits to Atlanta to broadcast live.
Twin Peaks: I print a lot of celebrity sleaze, but celebs can occasionally help the little guys. Last week, I made a jaunt to New York City to attend a party thrown by Paper magazine, where I frequently contribute, at Gotham hotspot Lotus. I was assured I'd have no problem getting in.
Isabel and I showed up at 11 p.m. and found a line stretching from the door far down the block. The emotionless doorman told me the line was people on the guest list and to wait my turn. After standing in the same spot for about 15 minutes, we approached the door gestapo one more time before calling it a night; we were turned away again. But as we left, we noticed actor Kyle McLachlan leaving the club along with his girlfriend, NYC publicist Desiree Gruber, who is a lifelong friend of Atlanta publicist Liz Lapidus. Invoking Lapidus' name, we introduced ourselves to the power duo and explained our dilemma. McLachlan said, "Come with me," and led us to the door. We all immediately marched in, right past the poor souls stuck in line. I informed Kyle that from now on, whenever I go out, I'll need his services. He laughed and agreed to lend his fame whenever.
This and that: Designer Keith Brown's website, www. hushbox.com, is almost ready to launch. The site will be a Web-based version of his popular e-mail list of Atlanta people and events. ... If you have a cell phone, check out www.yourmobile.com for a list of thousands of song titles, from Sinatra to Sisqo, that you can have sent to your cell phone to replace the standard boring ringing sounds. Best of all, it's free. ... I'm out.
What's up, Atlanta? Hit me up at 404-688-5623 x.1502 or lang@creativeloafing.com.
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__''Return of the Fan?''__: WCNN 680's plans to develop an all-black talk radio format have fallen by the wayside. The station recently announced plans to resurrect the all-sports format it popularized in the early '90s.
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__''Twin Peaks''__: I print a lot of celebrity sleaze, but celebs can occasionally help the little guys. Last week, I made a jaunt to New York City to attend a party thrown by ''Paper'' magazine, where I frequently contribute, at Gotham hotspot Lotus. I was assured I'd have no problem getting in.
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__''This and that''__: Designer __Keith Brown__'s website, www. [http://hushbox.com/|hushbox.com], is almost ready to launch. The site will be a Web-based version of his popular e-mail list of Atlanta people and events. ... If you have a cell phone, check out [http://www.yourmobile.com/|www.yourmobile.com] for a list of thousands of song titles, from __Sinatra__ to __Sisqo__, that you can have sent to your cell phone to replace the standard boring ringing sounds. Best of all, it's free. ... I'm out.
''What's up, Atlanta? Hit me up at 404-688-5623 x.1502 or [mailto:lang@creativeloafing.com|lang@creativeloafing.com].''
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It's been three years since the Atlantis Music Conference hit town, and several bands have gotten major label deals as a result. The weekend-long gig is a mixture of concerts and panels. This year, for the first time, extensive attention was given to Atlanta's booming urban music scene. Months ago, I accepted an invitation to serve on the "Covering Hip-Hop, Whose Story Is It Anyway?" panel Aug. 11 at Studio Central downtown. A few weeks before the panel took place, the Atlanta Press Club sent out flyers announcing the panel, noting that conversation would focus on the question: "Can a predominantly white media industry fairly cover a predominantly black music genre?" Though I thought the panel was supposed to be about the music and not the color, I went ahead with my plans to participate. I did find it odd that my name was listed first on the flyer. "Come needle the white boy!" was all that was missing.
When the event finally went down last weekend, my anxieties were running high. But it went smoothly. CL's own Rhonda Baraka moderated the panel impeccably; fellow panelists, AJC writer Sonia Murray and Noontime Recordings' Johnathan Floyd, contributed to the exchange.
Everyone seemed to quickly dismiss the race card as irrelevant. My favorite moment: Michael Fields, Southern bureau chief for National Public Radio stood up and asked a question about the hip-hop culture, mentioning "one of the Geto Boyz, I believe it was the short gentleman," perhaps marking the first time that midget rapper Bushwick Bill has ever been referred to as a gentleman.
Return of the Fan?: WCNN 680's plans to develop an all-black talk radio format have fallen by the wayside. The station recently announced plans to resurrect the all-sports format it popularized in the early '90s.
Rumor has WCNN trying to woo popular 790 the Zone anchor Chris Dimino, though Dimino has told friends that he isn't going anywhere.
To compete with the Zone, WCNN is calling in the big guns: former Thrashers play-by-play announcer Scott Ferrall's syndicated show from L.A. will reportedly be part of the lineup, with Ferrall making bi-weekly visits to Atlanta to broadcast live.
Twin Peaks: I print a lot of celebrity sleaze, but celebs can occasionally help the little guys. Last week, I made a jaunt to New York City to attend a party thrown by Paper magazine, where I frequently contribute, at Gotham hotspot Lotus. I was assured I'd have no problem getting in.
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This and that: Designer Keith Brown's website, www. hushbox.com, is almost ready to launch. The site will be a Web-based version of his popular e-mail list of Atlanta people and events. ... If you have a cell phone, check out www.yourmobile.com for a list of thousands of song titles, from Sinatra to Sisqo, that you can have sent to your cell phone to replace the standard boring ringing sounds. Best of all, it's free. ... I'm out.
What's up, Atlanta? Hit me up at 404-688-5623 x.1502 or lang@creativeloafing.com.
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Ubermenschen will undoubtedly fit in with other performers on the bill, including national acts Electric Hellfire Club and O.Z. Willis and local groups Fiends Carnival of Souls and Flowers for Luci. Horror Fest also includes performances by the Modern Gypsies Freak Sideshow, horror novelist Nancy A. Collins and underground filmmaker Joe Christ.
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string(1959) " Earshot 1981 2020-04-04T23:50:46+00:00 earshot-1981.jpeg horror fest Atlanta Horror Fest 2000 30335 2000-10-28T04:04:00+00:00 A little light in Horror Fest's darkness ben.eason@creativeloafing.com Ben Eason Jonathan Williams 1306429 2000-10-28T04:04:00+00:00 For the participants and attendees of Atlanta's Horror Fest 2000, Halloween isn't so much a time for trick-or-treating and pumpkin carving as it is a day when the cauldron of darkness finally boils over in the guise of artistic expression.
Take, for instance, the Atlanta-based duo Ubermenschen, one of the convention's musical attractions. With a name lifted from Nietzsche and a CD titled Shattering the Myth of God, it would be easy to write them off as another goth/industrial act steeped in darkness and despair. But while there's plenty of doom and gloom in the band's sound and lyrics, Ubermenschen also allow a much-needed sense of humor into their music. Tracks such as "Triple X" and "Fuck You" use samples to lighten up the otherwise dark material.
"Some of it's in good humor, definitely," says vocalist and programmer Reverend, who is joined in the group by Robert Cruzan. "The philosophy behind it is kind of Nietzsche, Satanism and all sorts of different things that we've taken little bits from. It's got some blasphemy in it, but it could definitely be more extreme."
Ubermenschen will undoubtedly fit in with other performers on the bill, including national acts Electric Hellfire Club and O.Z. Willis and local groups Fiends Carnival of Souls and Flowers for Luci. Horror Fest also includes performances by the Modern Gypsies Freak Sideshow, horror novelist Nancy A. Collins and underground filmmaker Joe Christ.
Horror Fest 2000 is held Oct. 27-28 at the Crowne Plaza Hotel. See www.horrorfest2000.com for more information.
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string(5171) "Limp Bizkit. Kid Rock. Korn. Incubus. The Deftones. Any band with a DJ and penchant to drop a stilted vocal is rapcore/rockrap, right? Wrong. Two of these bands are not like the other.
With the current rap/rock glut and impending implosion, the Deftones and Incubus will simply do what they've always done: watch, listen to the hype and move on.
Currently hooked up on an eight-week jaunt with openers Taproot, Incubus and the Deftones have critical similarities. They each feature a DJ, have hot CDs, and have little to do with the heavy and rock/rap categories to which they're linked.
"I can't speak for everyone else," says Incubus drummer Jose Pasillas before a gig in Reno, Nev., "but personally, it doesn't bother me. People need to categorize us with different bands because people need to say we sound like this or we sound like that. If that's what they need to do, then so be it. I know where I stand and it doesn't affect me."
Speaking from his home in Sacramento, Calif., just prior to heading out on tour, Deftones bassist Chi Cheng says the current state of musical affairs should be a warning that things may be about to change. "I think that people should be careful not to do too much of the same thing," he says. "The industry has a terrible tendency of seeing one thing do real well and signing a thousand things like that. And then it tends to bastardize the whole thing. Whereas you have a core of just some really amazing bands, take that and move on with it."
Of course, there are differences as well. The Deftones' newly gold-crowned White Pony lurches and gurgles their trademark tuned-down heavy flow around a more focused, sickly soft ambiance. Incubus, meanwhile, splices high-energy guitar work to help support the soaring crystal vocals of Brandon Boyd into a melodic melange of planned schizophrenia.
But one additional factor that links the bands is their experience as oddballs on each of the past two Ozzfest tours. The 1999 invitation to Ozzfest was so enticing to the Deftones at first, they decided to halt recording of White Pony to hit the metalfest trail. But Cheng says the Ozzfest experience sent the band in an entirely different, discordant direction.
"To be honest, I think it kind of steered us away from doing anything kind of in that vein," Cheng says. "It's all really good quality, but a lot of it is very similar. For us, it made us want to either go heavier or go softer... We did both. Guitarist Stephen Carpenter definitely wanted to go heavier. He wanted an album of all heavy stuff. For one thing, we've never done that. We'll do a song like that, but we're not going to do a whole album like, that's shooting ourselves in the foot. One of our strongest qualities is that we're able to fuse all these different styles, moods and emotions. To go from such a broad spectrum to one focal point, I thought it was really a bad idea."
Incubus' move from the psychotic bungee mode of 1997's S.C.I.E.N.C.E. to the melodic, emotional mainline of their platinum-selling follow-up, Make Yourself, may also owe something to their own Ozzfest experience — especially the strangely tepid reaction they received in 1999. "We never had a bad response, but most of those people who are spending $50 and up are there to see Godsmack, Pantera and Ozzy, so everything before that is just an act," Pasillas says. "That's the kind of reaction that you get. We kind of got used to it."
Since most Ozzfest bands usually wind up later scattering in packs of mini-bills, it's appropriate that two bands that seemed to least fit wound up together. In fact, Incubus was the overwhelming fan favorite on the Deftones' website as the group with whom to tour.
"That music as a whole," Pasillas says of the Ozzfest lineup, "I really don't listen to that sort of music. There was maybe only a handful bands I enjoyed. I haven't really toured with bands that I respect as musicians for a really long time. And with the Deftones, knowing about them for so long and knowing that they've always done sort of the underground, stick-to-your-guns type of thing throughout their careers, that's very admirable."
While hard rock fans and musicians deal with preconceptions of being misogynist dimwits only out for volume, sex and substances, the introspective honesty of heavy music also tends to attract an interesting mix of intelligent, expressive adherents. The personal intensity of both bands separates them from the stereotypes and brings them together. And ultimately, it will probably be what allows them to flourish long after the current heavy rock fad mutates into something else.
"A lot of the people in this style of music are very intelligent and very creative," Cheng says. "A lot of it comes from maybe some introspection and people going, 'You know what, this is what I'm feeling and this is the basest emotion that I have right now that I can put across musically.' And you know, it's heavy and it's dark sometimes. That's the purest form of art and honesty."
The Deftones and Incubus perform at the International Ballroom, Mon., Nov. 6, starting at 7:30 p.m. Tickets are $28.50, available through Ticketmaster.
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With the current rap/rock glut and impending implosion, the Deftones and Incubus will simply do what they've always done: watch, listen to the hype and move on.
Currently hooked up on an eight-week jaunt with openers Taproot, Incubus and the Deftones have critical similarities. They each feature a DJ, have hot CDs, and have little to do with the heavy and rock/rap categories to which they're linked.
"I can't speak for everyone else," says Incubus drummer Jose Pasillas before a gig in Reno, Nev., "but personally, it doesn't bother me. People need to categorize us with different bands because people need to say we sound like this or we sound like that. If that's what they need to do, then so be it. I know where I stand and it doesn't affect me."
Speaking from his home in Sacramento, Calif., just prior to heading out on tour, Deftones bassist Chi Cheng says the current state of musical affairs should be a warning that things may be about to change. "I think that people should be careful not to do too much of the same thing," he says. "The industry has a terrible tendency of seeing one thing do real well and signing a thousand things like that. And then it tends to bastardize the whole thing. Whereas you have a core of just some really amazing bands, take that and move on with it."
Of course, there are differences as well. The Deftones' newly gold-crowned ''White Pony'' lurches and gurgles their trademark tuned-down heavy flow around a more focused, sickly soft ambiance. Incubus, meanwhile, splices high-energy guitar work to help support the soaring crystal vocals of Brandon Boyd into a melodic melange of planned schizophrenia.
But one additional factor that links the bands is their experience as oddballs on each of the past two Ozzfest tours. The 1999 invitation to Ozzfest was so enticing to the Deftones at first, they decided to halt recording of ''White Pony'' to hit the metalfest trail. But Cheng says the Ozzfest experience sent the band in an entirely different, discordant direction.
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Incubus' move from the psychotic bungee mode of 1997's ''S.C.I.E.N.C.E.'' to the melodic, emotional mainline of their platinum-selling follow-up, ''Make Yourself'', may also owe something to their own Ozzfest experience -- especially the strangely tepid reaction they received in 1999. "We never had a bad response, but most of those people who are spending $50 and up are there to see Godsmack, Pantera and Ozzy, so everything before that is just an act," Pasillas says. "That's the kind of reaction that you get. We kind of got used to it."
Since most Ozzfest bands usually wind up later scattering in packs of mini-bills, it's appropriate that two bands that seemed to least fit wound up together. In fact, Incubus was the overwhelming fan favorite on the Deftones' website as the group with whom to tour.
"That music as a whole," Pasillas says of the Ozzfest lineup, "I really don't listen to that sort of music. There was maybe only a handful bands I enjoyed. I haven't really toured with bands that I respect as musicians for a really long time. And with the Deftones, knowing about them for so long and knowing that they've always done sort of the underground, stick-to-your-guns type of thing throughout their careers, that's very admirable."
While hard rock fans and musicians deal with preconceptions of being misogynist dimwits only out for volume, sex and substances, the introspective honesty of heavy music also tends to attract an interesting mix of intelligent, expressive adherents. The personal intensity of both bands separates them from the stereotypes and brings them together. And ultimately, it will probably be what allows them to flourish long after the current heavy rock fad mutates into something else.
"A lot of the people in this style of music are very intelligent and very creative," Cheng says. "A lot of it comes from maybe some introspection and people going, 'You know what, this is what I'm feeling and this is the basest emotion that I have right now that I can put across musically.' And you know, it's heavy and it's dark sometimes. That's the purest form of art and honesty."
''The Deftones and Incubus perform at the International Ballroom, Mon., Nov. 6, starting at 7:30 p.m. Tickets are $28.50, available through Ticketmaster.''
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With the current rap/rock glut and impending implosion, the Deftones and Incubus will simply do what they've always done: watch, listen to the hype and move on.
Currently hooked up on an eight-week jaunt with openers Taproot, Incubus and the Deftones have critical similarities. They each feature a DJ, have hot CDs, and have little to do with the heavy and rock/rap categories to which they're linked.
"I can't speak for everyone else," says Incubus drummer Jose Pasillas before a gig in Reno, Nev., "but personally, it doesn't bother me. People need to categorize us with different bands because people need to say we sound like this or we sound like that. If that's what they need to do, then so be it. I know where I stand and it doesn't affect me."
Speaking from his home in Sacramento, Calif., just prior to heading out on tour, Deftones bassist Chi Cheng says the current state of musical affairs should be a warning that things may be about to change. "I think that people should be careful not to do too much of the same thing," he says. "The industry has a terrible tendency of seeing one thing do real well and signing a thousand things like that. And then it tends to bastardize the whole thing. Whereas you have a core of just some really amazing bands, take that and move on with it."
Of course, there are differences as well. The Deftones' newly gold-crowned White Pony lurches and gurgles their trademark tuned-down heavy flow around a more focused, sickly soft ambiance. Incubus, meanwhile, splices high-energy guitar work to help support the soaring crystal vocals of Brandon Boyd into a melodic melange of planned schizophrenia.
But one additional factor that links the bands is their experience as oddballs on each of the past two Ozzfest tours. The 1999 invitation to Ozzfest was so enticing to the Deftones at first, they decided to halt recording of White Pony to hit the metalfest trail. But Cheng says the Ozzfest experience sent the band in an entirely different, discordant direction.
"To be honest, I think it kind of steered us away from doing anything kind of in that vein," Cheng says. "It's all really good quality, but a lot of it is very similar. For us, it made us want to either go heavier or go softer... We did both. Guitarist Stephen Carpenter definitely wanted to go heavier. He wanted an album of all heavy stuff. For one thing, we've never done that. We'll do a song like that, but we're not going to do a whole album like, that's shooting ourselves in the foot. One of our strongest qualities is that we're able to fuse all these different styles, moods and emotions. To go from such a broad spectrum to one focal point, I thought it was really a bad idea."
Incubus' move from the psychotic bungee mode of 1997's S.C.I.E.N.C.E. to the melodic, emotional mainline of their platinum-selling follow-up, Make Yourself, may also owe something to their own Ozzfest experience — especially the strangely tepid reaction they received in 1999. "We never had a bad response, but most of those people who are spending $50 and up are there to see Godsmack, Pantera and Ozzy, so everything before that is just an act," Pasillas says. "That's the kind of reaction that you get. We kind of got used to it."
Since most Ozzfest bands usually wind up later scattering in packs of mini-bills, it's appropriate that two bands that seemed to least fit wound up together. In fact, Incubus was the overwhelming fan favorite on the Deftones' website as the group with whom to tour.
"That music as a whole," Pasillas says of the Ozzfest lineup, "I really don't listen to that sort of music. There was maybe only a handful bands I enjoyed. I haven't really toured with bands that I respect as musicians for a really long time. And with the Deftones, knowing about them for so long and knowing that they've always done sort of the underground, stick-to-your-guns type of thing throughout their careers, that's very admirable."
While hard rock fans and musicians deal with preconceptions of being misogynist dimwits only out for volume, sex and substances, the introspective honesty of heavy music also tends to attract an interesting mix of intelligent, expressive adherents. The personal intensity of both bands separates them from the stereotypes and brings them together. And ultimately, it will probably be what allows them to flourish long after the current heavy rock fad mutates into something else.
"A lot of the people in this style of music are very intelligent and very creative," Cheng says. "A lot of it comes from maybe some introspection and people going, 'You know what, this is what I'm feeling and this is the basest emotion that I have right now that I can put across musically.' And you know, it's heavy and it's dark sometimes. That's the purest form of art and honesty."
The Deftones and Incubus perform at the International Ballroom, Mon., Nov. 6, starting at 7:30 p.m. Tickets are $28.50, available through Ticketmaster.
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Ozzfest oddballs Article
Saturday November 4, 2000 12:04 am EST
The Deftones and Incubus connect by standing apart from the heavy-rock pack
| more...
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A little light in Horror Fest's darkness
10/28/2000
Will Va-Hi's Summerfest go bye-bye?
09/16/2000
Best of the fest
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If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!DECEMBER
!!JANUARY
!!FEBRUARY
!!Seasonal
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As the holiday season approaches, Winter festivals and events offer the chance for families and friends alike together and revel in the most wonderful time of the year. For college football fans, the Chick-Fil-A Peach Bowl is an exciting winter tradition. Celebrate MLK Day with the MLK March and Rally, and catch the month-long Jewish Film Festival. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
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!!DECEMBER
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Winter Festivals in Atlanta Article
Sunday November 1, 2020 01:24 pm EST
Search for Atlanta Winter Festivals. Take the chill off in December, January and February with CL's guide to MLK Day, Chick-Fil-A Bowl, Jewish Film Festival & more.
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Grab a bag of your favorite treats, the spookiest outfit you can find, and get ready to celebrate the most spine-tingling holiday out there: Halloween! Halloween is a day that emerged over 2000 years ago from ancient Celtic traditions, and has since grown to become one of the world’s most popular, albeit controversial holidays. All you need to enjoy yourself is candy, costumes, and a willingness to get spooked!
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---
Grab a bag of your favorite treats, the spookiest outfit you can find, and get ready to celebrate the most spine-tingling holiday out there: Halloween! Halloween is a day that emerged over 2000 years ago from ancient Celtic traditions, and has since grown to become one of the world’s most popular, albeit controversial holidays. All you need to enjoy yourself is candy, costumes, and a willingness to get spooked!
!!Big Halloween Events
!!List of Halloween Events
!!CL Articles on Halloween
!!Past Halloweens
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Halloween Events Article
Saturday October 31, 2020 02:51 pm EDT
TRICK OR TREAT: Celebrate Halloween in the ATL.
| more...
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It's hot. Damn hot. The Fourth of July and the Peachtree Road Race marks the high point of the Summer but there are great Festivals in the air conditioning and ice cream and other treats for those headed outdoors. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
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---
It's hot. Damn hot. The Fourth of July and the Peachtree Road Race marks the high point of the Summer but there are great Festivals in the air conditioning and ice cream and other treats for those headed outdoors. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!JUNE
!!JULY
!!AUGUST
!!Seasonal
CL Photo Archives Peachtree Road Race 2012 0,0,10 Summer Guide - Outdoor summer concerts and festivals in Atlanta, Summer Guide - Summer festivals and events in Atlanta "summer festivals" Summer Festivals in Atlanta "
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Summer Festivals in Atlanta Article
Monday June 1, 2020 04:20 pm EDT
Check out the Summer Festivals in Atlanta for June, July, and August. Your guide to the Peachtree Road Race, Decatur Book Festival, Juneteenth, Fourth of July.
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----
---
If you are a venue, artist, band or anyone hosting a public event, please help us to help you by submitting your event here. For a broad events calendar for today, go to our comprehensive listing of events in Atlanta today, tomorrow, or this weekend.
!!COVID-19 Safe Events
Below is our Atlanta list of Things to Do Today
!!Decatur COVID-19 Updates
If you would like your organization, business or venue listed, please let us know here.
!!Want to receive our 5 Things To Do recommendations in your inbox? Click here and select the "5 Things to Do" newsletter.
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!!COVID-19 Safe Events
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string(1263) " Decatur Neighborhood 2017-04-09T03:02:03+00:00 Decatur Neighborhood.jpg Browse what's going on in Decatur with our comprehensive calendar of events. Find things to do by neighborhood, what's going on today, tomorrow & this weekend. 49 decatur 2020-05-13T20:05:00+00:00 What's Going On in Decatur ben.eason@creativeloafing.com Ben Eason CL Events Staff 2020-05-13T20:05:00+00:00 Decatur, GA - Progressive enclave with quaint homes, a walkable downtown, great restaurants, and probably the city's highest concentration of top notch cocktail bars.
----
---
If you are a venue, artist, band or anyone hosting a public event, please help us to help you by submitting your event here. For a broad events calendar for today, go to our comprehensive listing of events in Atlanta today, tomorrow, or this weekend.
!!COVID-19 Safe Events
Below is our Atlanta list of Things to Do Today
!!Decatur COVID-19 Updates
If you would like your organization, business or venue listed, please let us know here.
!!Want to receive our 5 Things To Do recommendations in your inbox? Click here and select the "5 Things to Do" newsletter.
CL Photo Archives NEIGHBORHOOD: DECATUR 0,0,10 What's Going On in Decatur "
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What's Going On in Decatur Article
Wednesday May 13, 2020 04:05 pm EDT
Browse what's going on in Decatur with our comprehensive calendar of events. Find things to do by neighborhood, what's going on today, tomorrow & this weekend.
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As Atlanta starts to venture outdoors once again, the Festival season springs to life. The Atlanta Dogwood Festival marks the unofficial start of the Spring. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
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If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event ((add-event|here)) and we'll get you on Atlanta's most comprehensive listing of [atlanta-events|events].
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If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!MARCH
!!APRIL
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Spring Festivals in Atlanta Article
Sunday March 1, 2020 12:00 am EST
Check out the Spring Festivals in Atlanta for March, April, and May. your guide to Dogwood Festival, Shaky Knees, 420 Fest, Sweet Auburn, Inman Park Festival.
| more...
