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Mastodon.5a207b251b4ae

Local Albums

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The Pinx are back with the group’s third, self-released full-length, titled Sisters & Brothers. Sometime between crafting this latest album (out April 12) and 2016’s sophomore LP Freedom, singer, guitarist, and songwriter Adam McIntyre made the acquaintance of the MC5’s former guitarist Wayne Kramer — he even joined Kramer’s live band. This connection affected McIntyre’s songwriting in profound ways, giving Sisters & Brothers’ 10 songs a renewed energy that expands upon the glory days of rock culture with a highly personal take on rebellious music planted in the here and now. At face value, songs such as “Mercy!,” “Brain Fog,” and the album’s title track can come across as polished, cut-and-dried rock ‘n’ roll with an Alabama accent. But give each number a deeper listen and these winding grooves resonate to the tune of something much more profound than the outrageous stories and party anthems of Freedom. In “Get Up,” McIntyre sings, “I fight for justice and peace / I believe in the land of the free / I march for those behind me / For my sisters and my brothers and those in between.” The song is a thesis statement of sorts; it’s protest music that channels the spirit of 1969 into the dialogue of modern America, with an urgency that’s affecting and exhilarating. Give this music the proper listen it deserves: Turn off the computer, put a needle on the record, and listen to that thick, dark space that billows between instruments, bringing every note on the record to a bold point. ★★★☆☆ — Chad Radford

The Pinx play the Sisters & Brothers LP release party on Fri., April 12, with HeY!ALLigator, Gnomonaut, Chrome Castle. $10-$12. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com."
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[http://thepinxrock.com/|The Pinx] are back with the group’s third, self-released full-length, titled ''Sisters & Brothers''. Sometime between crafting this latest album (out April 12) and 2016’s sophomore LP ''Freedom'', singer, guitarist, and songwriter Adam McIntyre made the acquaintance of the MC5’s former guitarist Wayne Kramer — he even joined Kramer’s live band. This connection affected McIntyre’s songwriting in profound ways, giving ''Sisters & Brothers''’ 10 songs a renewed energy that expands upon the glory days of rock culture with a highly personal take on rebellious music planted in the here and now. At face value, songs such as “Mercy!,” “Brain Fog,” and the album’s title track can come across as polished, cut-and-dried rock ‘n’ roll with an Alabama accent. But give each number a deeper listen and these winding grooves resonate to the tune of something much more profound than the outrageous stories and party anthems of ''Freedom''. In “Get Up,” McIntyre sings, “I fight for justice and peace / I believe in the land of the free / I march for those behind me / For my sisters and my brothers and those in between.” The song is a thesis statement of sorts; it’s protest music that channels the spirit of 1969 into the dialogue of modern America, with an urgency that’s affecting and exhilarating. Give this music the proper listen it deserves: Turn off the computer, put a needle on the record, and listen to that thick, dark space that billows between instruments, bringing every note on the record to a bold point. ★★★☆☆ — Chad Radford

''[https://creativeloafing.com/event-423128|The Pinx play the Sisters & Brothers LP release party on Fri., April 12, with HeY!ALLigator, Gnomonaut, Chrome Castle. $10-$12. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com].''"
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The Pinx are back with the group’s third, self-released full-length, titled Sisters & Brothers. Sometime between crafting this latest album (out April 12) and 2016’s sophomore LP Freedom, singer, guitarist, and songwriter Adam McIntyre made the acquaintance of the MC5’s former guitarist Wayne Kramer — he even joined Kramer’s live band. This connection affected McIntyre’s songwriting in profound ways, giving Sisters & Brothers’ 10 songs a renewed energy that expands upon the glory days of rock culture with a highly personal take on rebellious music planted in the here and now. At face value, songs such as “Mercy!,” “Brain Fog,” and the album’s title track can come across as polished, cut-and-dried rock ‘n’ roll with an Alabama accent. But give each number a deeper listen and these winding grooves resonate to the tune of something much more profound than the outrageous stories and party anthems of Freedom. In “Get Up,” McIntyre sings, “I fight for justice and peace / I believe in the land of the free / I march for those behind me / For my sisters and my brothers and those in between.” The song is a thesis statement of sorts; it’s protest music that channels the spirit of 1969 into the dialogue of modern America, with an urgency that’s affecting and exhilarating. Give this music the proper listen it deserves: Turn off the computer, put a needle on the record, and listen to that thick, dark space that billows between instruments, bringing every note on the record to a bold point. ★★★☆☆ — Chad Radford

The Pinx play the Sisters & Brothers LP release party on Fri., April 12, with HeY!ALLigator, Gnomonaut, Chrome Castle. $10-$12. 9 p.m. 529, 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com.    Courtesy the Pinx THE PINX: 'Sisters & Brothers'    The Pinx: Validation and redemption, The Pinx let 'Freedom' ring, The Pinx embrace 'Freedom' with 'Boss Man', The Pinx: Look What You Made Me Do, The Pinx: An oral history of Atlanta's latest, greatest stoner rock trio  "the Pinx" "Wayne Kramer" "Mc5" "Sisters & Brothers" "Atlanta" "rock 'n' roll" "Atlanta music" "Adam McIntyre"                             Record Review: The Pinx "
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Article

Monday April 1, 2019 04:00 am EDT
‘Sisters & Brothers’ looks for salvation in the new dark age | more...
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  string(1917) "Near the 10-minute mark of her new self-produced album GIRLS, Yung Baby Tate channels her inner Chaka Khan, incorporating lyrics from “I’m Every Woman” in “That Girl.” The Decatur artist develops the message of Khan's trademark anthem into an album that explores and celebrates the female experience from multiple points of view. On each track, Tate, born Tate Farris, embodies a different persona, an admittedly creative approach. However, concept albums like GIRLS can feel forced when strict adherence to the theme overpowers artistic merit. Tate flirts with those pitfalls on cuts like “Cozy Girl,” where lyrics such as “Cozy girl for life/Cozy girl, CG4L/Cozy girl, I’m raw as hell,” fall flat in an album packed with compelling performances. What makes GIRLS work is Tate’s authenticity on each song; she develops the album’s 11 distinct girls into a virtual self-portrait. In the outro of “Play Girl,” Tate’s screaming of, “I’m not no motherfuckin’ PlayStation/I’m a human being with real emotions and a good heart,” sounds too heartfelt to be an act and segues perfectly into the beautiful Baby Rose-assisted “Lover Girl” and “Flower Girl.” The vulnerability in that three-piece combo conveys an emotional depth that nicely contrasts with the saucy bravado that dominates the album, especially on songs such as “That Girl” and “Bad Girl.” With GIRLS, Yung Baby Tate transforms a limiting concept into a passionate reminder that women are multifaceted, and so is female rap.
★★★☆☆ — Joshua Robinson

Yung Baby Tate, Leikeli47. $18-$22. 7 p.m. Thurs., April 4. The Loft, 1374 West Peachtree St. N.W. 404-885-1365. www.centerstage-atlanta.com.

★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother"
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★★★☆☆ — Joshua Robinson

''Yung Baby Tate, Leikeli47. $18-$22. 7 p.m. Thurs., April 4. The Loft, 1374 West Peachtree St. N.W. 404-885-1365. www.centerstage-atlanta.com.''

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  string(2241) " YBT  2019-03-01T18:45:46+00:00 YBT.jpg      14305  2019-03-14T17:13:00+00:00 Yung Baby Tate: 'GIRLS' chad.radford@creativeloafing.com Chad Radford Joshua Robinson  2019-03-14T17:13:00+00:00  Near the 10-minute mark of her new self-produced album GIRLS, Yung Baby Tate channels her inner Chaka Khan, incorporating lyrics from “I’m Every Woman” in “That Girl.” The Decatur artist develops the message of Khan's trademark anthem into an album that explores and celebrates the female experience from multiple points of view. On each track, Tate, born Tate Farris, embodies a different persona, an admittedly creative approach. However, concept albums like GIRLS can feel forced when strict adherence to the theme overpowers artistic merit. Tate flirts with those pitfalls on cuts like “Cozy Girl,” where lyrics such as “Cozy girl for life/Cozy girl, CG4L/Cozy girl, I’m raw as hell,” fall flat in an album packed with compelling performances. What makes GIRLS work is Tate’s authenticity on each song; she develops the album’s 11 distinct girls into a virtual self-portrait. In the outro of “Play Girl,” Tate’s screaming of, “I’m not no motherfuckin’ PlayStation/I’m a human being with real emotions and a good heart,” sounds too heartfelt to be an act and segues perfectly into the beautiful Baby Rose-assisted “Lover Girl” and “Flower Girl.” The vulnerability in that three-piece combo conveys an emotional depth that nicely contrasts with the saucy bravado that dominates the album, especially on songs such as “That Girl” and “Bad Girl.” With GIRLS, Yung Baby Tate transforms a limiting concept into a passionate reminder that women are multifaceted, and so is female rap.
★★★☆☆ — Joshua Robinson

Yung Baby Tate, Leikeli47. $18-$22. 7 p.m. Thurs., April 4. The Loft, 1374 West Peachtree St. N.W. 404-885-1365. www.centerstage-atlanta.com.

★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother    Yung Baby Tate THAT GIRL: Yung Baby Tate’s passion shines on GIRLS.                                   Yung Baby Tate: 'GIRLS' "
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Thursday March 14, 2019 01:13 pm EDT
Near the 10-minute mark of her new self-produced album GIRLS, Yung Baby Tate channels her inner Chaka Khan, incorporating lyrics from “I’m Every Woman” in “That Girl.” The Decatur artist develops the message of Khan's trademark anthem into an album that explores and celebrates the female experience from multiple points of view. On each track, Tate, born Tate Farris, embodies a different... | more...
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Whether taken at face value for its haunting subtlety or as an earnest gimmick, Cloak’s “2 Hits from Hell” 7-inch pays serious homage to the Misfits. From the cover art and title, both references to Glenn Danzig and Co.’s 1981 EP 3 Hits from Hell, to the blackened metal cover of “London Dungeon,” this single is testimony to the Atlanta band’s burgeoning greatness. The moment the needle sinks into the record’s deep black grooves, singer and guitarist Scott Taysom dials back the vocal melody while honing in on a mid-tempo rhythm. The song is a natural fit for Cloak’s Southern gothic style. Here, the group reaches beyond the loud/soft dynamic that guided its 2017 debut LP To Venomous Depths (Season of Mist) to embrace a measured sound. Cloak’s vision of “London Dungeon” is accessible, but never at the expense of the original song’s grit, or of Cloak’s ability to turn this horror punk classic into something new. When Taysom sings the opening lyrics, “They call us walking corpses, unholy living dead,” his exquisitely throaty growl conjures images of corpse-painted ghouls, rather than the famous fiends and monsters and of Danzig’s baritone yowl. A demo version of “Forever Burned,” a deep cut from To Venomous Depths, appears on the B side, underscoring Cloak’s faith in black metal. When unleashed from the album, however, the song’s stripped-down and slow-burning fury is a welcome look into the process behind the intricate riffing and scorched rhythms that draw power from atmosphere and texture. ★★★☆☆

★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother"
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Whether taken at face value for its haunting subtlety or as an earnest gimmick, [https://cloakatlanta.bandcamp.com/|Cloak]’s “2 Hits from Hell” 7-inch pays serious homage to the Misfits. From the cover art and title, both references to Glenn Danzig and Co.’s 1981 EP ''3 Hits from Hell'', to the blackened metal cover of “London Dungeon,” this single is testimony to the Atlanta band’s burgeoning greatness. The moment the needle sinks into the record’s deep black grooves, singer and guitarist Scott Taysom dials back the vocal melody while honing in on a mid-tempo rhythm. The song is a natural fit for Cloak’s Southern gothic style. Here, the group reaches beyond the loud/soft dynamic that guided its 2017 debut LP ''To Venomous Depths'' (Season of Mist) to embrace a measured sound. Cloak’s vision of “London Dungeon” is accessible, but never at the expense of the original song’s grit, or of Cloak’s ability to turn this horror punk classic into something new. When Taysom sings the opening lyrics, “They call us walking corpses, unholy living dead,” his exquisitely throaty growl conjures images of corpse-painted ghouls, rather than the famous fiends and monsters and of Danzig’s baritone yowl. A demo version of “Forever Burned,” a deep cut from ''To Venomous Depths'', appears on the B side, underscoring Cloak’s faith in black metal. When unleashed from the album, however, the song’s stripped-down and slow-burning fury is a welcome look into the process behind the intricate riffing and scorched rhythms that draw power from atmosphere and texture. ★★★☆☆

★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother"
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Whether taken at face value for its haunting subtlety or as an earnest gimmick, Cloak’s “2 Hits from Hell” 7-inch pays serious homage to the Misfits. From the cover art and title, both references to Glenn Danzig and Co.’s 1981 EP 3 Hits from Hell, to the blackened metal cover of “London Dungeon,” this single is testimony to the Atlanta band’s burgeoning greatness. The moment the needle sinks into the record’s deep black grooves, singer and guitarist Scott Taysom dials back the vocal melody while honing in on a mid-tempo rhythm. The song is a natural fit for Cloak’s Southern gothic style. Here, the group reaches beyond the loud/soft dynamic that guided its 2017 debut LP To Venomous Depths (Season of Mist) to embrace a measured sound. Cloak’s vision of “London Dungeon” is accessible, but never at the expense of the original song’s grit, or of Cloak’s ability to turn this horror punk classic into something new. When Taysom sings the opening lyrics, “They call us walking corpses, unholy living dead,” his exquisitely throaty growl conjures images of corpse-painted ghouls, rather than the famous fiends and monsters and of Danzig’s baritone yowl. A demo version of “Forever Burned,” a deep cut from To Venomous Depths, appears on the B side, underscoring Cloak’s faith in black metal. When unleashed from the album, however, the song’s stripped-down and slow-burning fury is a welcome look into the process behind the intricate riffing and scorched rhythms that draw power from atmosphere and texture. ★★★☆☆

★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother    Midnight Cruiser Records CLOAK: ‘2 Hits From Hell’                                   Cloak: '2 Hits From Hell' "
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Friday March 1, 2019 02:27 pm EST
'London Dungeon' b/w 'Forever Burned' roar with darkness | more...
(Cached)