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Tenor saxophonist Kamasi Washington has taken up the mantle as the face of modern jazz. His sprawling, larger-than-life orchestrations and sharp improvisational instincts are bound by intangible spiritual currents, and anchored to terra firma by oceanic rhythms and the human sway of a large cast of players, many of whom have spent a lifetime playing music together. Washington's latest release, the six-song Harmony of Difference mini-album, was written as the counterpart to a series of paintings his sister, Amani, had featured in the 2017 Biennial for New York's Whitney Museum of American Art. But as a stand-alone collection of songs, Harmony of Difference picks up where Washington's 3xLP debut, The Epic, left off. Songs such as "Humility," "Perspective," and "Truth" commune with the sublime qualities of the universe both effervescent and fully charged, his playing evokes the emotional depth of John Coltrane, Wayne Shorter, and the unbound creativity of the Sun Ra Arkestra's Marshall Allen. For this Variety Playhouse performance, Washington is backed by an ensemble featuring singer Patrice Quinn, trombone player Ryan Porter, Rickey Washington playing flute and soprano sax, Brandon Coleman on keys, Ronald Bruner Jr. and Robert Miller on drums, and Joshua Crumbly on bass. The Los Angeles-based trio Moonchild opens the show.

 

$33, $36, $95 (VIP). 7 p.m. (doors). Variety Playhouse, 1099 Euclid Ave. 404-524-7354. www.variety-playhouse.com."
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Tenor saxophonist [https://www.kamasiwashington.com/|Kamasi Washington] has taken up the mantle as the face of modern jazz. His sprawling, larger-than-life orchestrations and sharp improvisational instincts are bound by intangible spiritual currents, and anchored to terra firma by oceanic rhythms and the human sway of a large cast of players, many of whom have spent a lifetime playing music together. Washington's latest release, the six-song ''Harmony of Difference'' mini-album, was written as the counterpart to a series of paintings his sister, Amani, had featured in the 2017 Biennial for New York's Whitney Museum of American Art. But as a stand-alone collection of songs, ''Harmony of Difference'' picks up where Washington's 3xLP debut, ''The Epic'', left off. Songs such as "Humility," "Perspective," and "Truth" commune with the sublime qualities of the universe both effervescent and fully charged, his playing evokes the emotional depth of John Coltrane, Wayne Shorter, and the unbound creativity of the Sun Ra Arkestra's Marshall Allen. For this Variety Playhouse performance, Washington is backed by an ensemble featuring singer Patrice Quinn, trombone player Ryan Porter, Rickey Washington playing flute and soprano sax, Brandon Coleman on keys, Ronald Bruner Jr. and Robert Miller on drums, and Joshua Crumbly on bass. The Los Angeles-based trio Moonchild opens the show.

 

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Tenor saxophonist Kamasi Washington has taken up the mantle as the face of modern jazz. His sprawling, larger-than-life orchestrations and sharp improvisational instincts are bound by intangible spiritual currents, and anchored to terra firma by oceanic rhythms and the human sway of a large cast of players, many of whom have spent a lifetime playing music together. Washington's latest release, the six-song Harmony of Difference mini-album, was written as the counterpart to a series of paintings his sister, Amani, had featured in the 2017 Biennial for New York's Whitney Museum of American Art. But as a stand-alone collection of songs, Harmony of Difference picks up where Washington's 3xLP debut, The Epic, left off. Songs such as "Humility," "Perspective," and "Truth" commune with the sublime qualities of the universe both effervescent and fully charged, his playing evokes the emotional depth of John Coltrane, Wayne Shorter, and the unbound creativity of the Sun Ra Arkestra's Marshall Allen. For this Variety Playhouse performance, Washington is backed by an ensemble featuring singer Patrice Quinn, trombone player Ryan Porter, Rickey Washington playing flute and soprano sax, Brandon Coleman on keys, Ronald Bruner Jr. and Robert Miller on drums, and Joshua Crumbly on bass. The Los Angeles-based trio Moonchild opens the show.

 

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Show Preview

Thursday December 7, 2017 08:55 pm EST
The face of modern jazz returns supporting his latest release, 'Harmony of Difference' | more...
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Show Preview

Thursday December 7, 2017 02:03 pm EST
America's premiere death metal band plays songs from its latest album, 'Red Before Black' | more...
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For nearly four decades, Gary Numan has remained a singularly progressive fixture in the evolution of British new wave and electronic music. Beginning with the U.K. success of Tubeway Army's 1979 single "Are 'Friends' Electric?" and finding worldwide acclaim with "Cars" from his '79 solo album The Pleasure Principle, Numan has chased his synthetic muse through an ever-changing landscape of technological change reinventing his style and image as the world changed around him. With his latest record, Savage (Songs from a Broken World), released in September via BMG, Numan, once again, reinvents his enigmatic persona for the modern era by penning a dystopian tale set in a world ravaged by climate change. Before embarking on a North American Tour, Numan took a few minutes to talk about the the new album, finding inspiration in President Donald Trump's nefarious ways, and the changing face of electronic music.

What inspired you to write this tale about global warming and mankind's survival?

Around November of 2015, I started writing songs based around a science fiction novel that I was working on. I knew that I wanted to do a fantasy story on a desert planet, but I hadn't decided on the theme yet. Later on, as I started looking for ideas to get me going, Donald Trump arrived. He started saying all these things about climate change being a hoax, and it suddenly made the global warming idea far more relevant than I had imaged before. The more I saw, the more I was inspired to write, and eventually the two ideas were sealed together.

Dystopian nightmares seem to be a theme across a lot of your records. What draws you to these kinds of stories?

It's just something that I've always been into. I'm not sure that I have any great skill for writing songs that would be uplifting or happy. The happiest tune I've ever written was probably "Cars," and lyrically that's hardly a cheerful song either. Whatever musical skills I have, they seem to lend themselves to that kind of music and those subjects.

So we shouldn't hold our breath for a Gary Numan utopian fantasy?

I think whatever I would turn out that was positive would be rubbish. Laughs When I listen to music that's happy and bouncy, it just doesn't touch me in the same way.

Are you planning on releasing the book you mentioned?

Well, the book is very much a work in progress still. Turning parts of the story into songs on the album really helped me to solidify the structure of the book; so the novel is now far more advanced. But I'm really keen on getting back to work on the book that's my plan after this next touring cycle is done.

What kind of synthesizers did you use on the album? Do you still use any of the older analog synths with which people associate your music?

I actually don't use any analog gear anymore. The sounds on Savage are all very cutting edge, nearly all of the synths are done with digital software. We wanted a more virtual sound, so we used only the latest technology.

Being someone who helped bring the genre into the mainstream, what is your take on modern electronic music?

I don't know much about current electronic music, to be honest. Funny enough, when Savage came out, Billboard banned me from the electronic charts. So if someone like me can't make it on the electronic charts, than what is considered electronic these days? The industry seems to think if you're not EDM or dance music that you're not really electronic, and I find that staggering.

But while I'm on the subject, there are a lot of people now who tend to look backwards for their inspiration to the days of analog synthesizers and the 80s, and they think it's more pure. And I absolutely disagree with that, I think that's a strange attitude. To me, electronic music has always been about moving forward, and using the latest technology. It's a relatively experimental genre, and it should always be about doing what has never been done before.

What can audiences expect to see on your upcoming tour?

Everything, even the older tunes, sounds like they're from the world of the new album. We'll play a few old songs, but they're reproduced to fit with the rest of the new material. It's quite heavy and contemporary if anyone's expecting a night of nostalgia, they just might be disappointed.

Gary Numan plays the Masquerade Mon. Dec. 11. $25. 7:30 p.m. (doors). With Me Not You. 75 MLK Jr. Drive SW. 404-577-8178.  www.masq.com."
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For nearly four decades, [https://garynuman.com/|Gary Numan] has remained a singularly progressive fixture in the evolution of British new wave and electronic music. Beginning with the U.K. success of Tubeway Army's 1979 single "Are 'Friends' Electric?" and finding worldwide acclaim with "Cars" from his '79 solo album ''The Pleasure Principle'', Numan has chased his synthetic muse through an ever-changing landscape of technological change reinventing his style and image as the world changed around him. With his latest record, ''Savage (Songs from a Broken World)'', released in September via BMG, Numan, once again, reinvents his enigmatic persona for the modern era by penning a dystopian tale set in a world ravaged by climate change. Before embarking on a North American Tour, Numan took a few minutes to talk about the the new album, finding inspiration in President Donald Trump's nefarious ways, and the changing face of electronic music.

__What inspired you to write this tale about global warming and mankind's survival?__

Around November of 2015, I started writing songs based around a science fiction novel that I was working on. I knew that I wanted to do a fantasy story on a desert planet, but I hadn't decided on the theme yet. Later on, as I started looking for ideas to get me going, Donald Trump arrived. He started saying all these things about climate change being a hoax, and it suddenly made the global warming idea far more relevant than I had imaged before. The more I saw, the more I was inspired to write, and eventually the two ideas were sealed together.

__Dystopian nightmares seem to be a theme across a lot of your records. What draws you to these kinds of stories?__

It's just something that I've always been into. I'm not sure that I have any great skill for writing songs that would be uplifting or happy. The happiest tune I've ever written was probably "Cars," and lyrically that's hardly a cheerful song either. Whatever musical skills I have, they seem to lend themselves to that kind of music and those subjects.

__So we shouldn't hold our breath for a Gary Numan utopian fantasy?__

I think whatever I would turn out that was positive would be rubbish. [Laughs] When I listen to music that's happy and bouncy, it just doesn't touch me in the same way.

__Are you planning on releasing the book you mentioned?__

Well, the book is very much a work in progress still. Turning parts of the story into songs on the album really helped me to solidify the structure of the book; so the novel is now far more advanced. But I'm really keen on getting back to work on the book that's my plan after this next touring cycle is done.

__What kind of synthesizers did you use on the album? Do you still use any of the older analog synths with which people associate your music?__

I actually don't use any analog gear anymore. The sounds on ''Savage'' are all very cutting edge, nearly all of the synths are done with digital software. We wanted a more virtual sound, so we used only the latest technology.

__Being someone who helped bring the genre into the mainstream, what is your take on modern electronic music?__

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But while I'm on the subject, there are a lot of people now who tend to look backwards for their inspiration to the days of analog synthesizers and the 80s, and they think it's more pure. And I absolutely disagree with that, I think that's a strange attitude. To me, electronic music has always been about moving forward, and using the latest technology. It's a relatively experimental genre, and it should always be about doing what has never been done before.

__What can audiences expect to see on your upcoming tour?__

Everything, even the older tunes, sounds like they're from the world of the new album. We'll play a few old songs, but they're reproduced to fit with the rest of the new material. It's quite heavy and contemporary if anyone's expecting a night of nostalgia, they just might be disappointed.

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  string(5059) " Music Numan2 1 05.5a28d1445bbb3  2018-03-06T19:26:55+00:00 Music_Numan2_1_05.5a28d1445bbb3.jpg     On Trump: 'The more I saw, the more I was inspired to write' 3308  2017-12-07T10:15:00+00:00 Gary Numan's 'Savage' world clint@thenetworkedplanet.com Clint Bergst Jacob Chisenhall  2017-12-07T10:15:00+00:00  
For nearly four decades, Gary Numan has remained a singularly progressive fixture in the evolution of British new wave and electronic music. Beginning with the U.K. success of Tubeway Army's 1979 single "Are 'Friends' Electric?" and finding worldwide acclaim with "Cars" from his '79 solo album The Pleasure Principle, Numan has chased his synthetic muse through an ever-changing landscape of technological change reinventing his style and image as the world changed around him. With his latest record, Savage (Songs from a Broken World), released in September via BMG, Numan, once again, reinvents his enigmatic persona for the modern era by penning a dystopian tale set in a world ravaged by climate change. Before embarking on a North American Tour, Numan took a few minutes to talk about the the new album, finding inspiration in President Donald Trump's nefarious ways, and the changing face of electronic music.

What inspired you to write this tale about global warming and mankind's survival?

Around November of 2015, I started writing songs based around a science fiction novel that I was working on. I knew that I wanted to do a fantasy story on a desert planet, but I hadn't decided on the theme yet. Later on, as I started looking for ideas to get me going, Donald Trump arrived. He started saying all these things about climate change being a hoax, and it suddenly made the global warming idea far more relevant than I had imaged before. The more I saw, the more I was inspired to write, and eventually the two ideas were sealed together.

Dystopian nightmares seem to be a theme across a lot of your records. What draws you to these kinds of stories?

It's just something that I've always been into. I'm not sure that I have any great skill for writing songs that would be uplifting or happy. The happiest tune I've ever written was probably "Cars," and lyrically that's hardly a cheerful song either. Whatever musical skills I have, they seem to lend themselves to that kind of music and those subjects.

So we shouldn't hold our breath for a Gary Numan utopian fantasy?

I think whatever I would turn out that was positive would be rubbish. Laughs When I listen to music that's happy and bouncy, it just doesn't touch me in the same way.

Are you planning on releasing the book you mentioned?

Well, the book is very much a work in progress still. Turning parts of the story into songs on the album really helped me to solidify the structure of the book; so the novel is now far more advanced. But I'm really keen on getting back to work on the book that's my plan after this next touring cycle is done.

What kind of synthesizers did you use on the album? Do you still use any of the older analog synths with which people associate your music?

I actually don't use any analog gear anymore. The sounds on Savage are all very cutting edge, nearly all of the synths are done with digital software. We wanted a more virtual sound, so we used only the latest technology.

Being someone who helped bring the genre into the mainstream, what is your take on modern electronic music?

I don't know much about current electronic music, to be honest. Funny enough, when Savage came out, Billboard banned me from the electronic charts. So if someone like me can't make it on the electronic charts, than what is considered electronic these days? The industry seems to think if you're not EDM or dance music that you're not really electronic, and I find that staggering.

But while I'm on the subject, there are a lot of people now who tend to look backwards for their inspiration to the days of analog synthesizers and the 80s, and they think it's more pure. And I absolutely disagree with that, I think that's a strange attitude. To me, electronic music has always been about moving forward, and using the latest technology. It's a relatively experimental genre, and it should always be about doing what has never been done before.

What can audiences expect to see on your upcoming tour?

Everything, even the older tunes, sounds like they're from the world of the new album. We'll play a few old songs, but they're reproduced to fit with the rest of the new material. It's quite heavy and contemporary if anyone's expecting a night of nostalgia, they just might be disappointed.

Gary Numan plays the Masquerade Mon. Dec. 11. $25. 7:30 p.m. (doors). With Me Not You. 75 MLK Jr. Drive SW. 404-577-8178.  www.masq.com.    Courtesy BB Gun PR SYNTHETIC WASTELAND: Gary Numan talks global warming, synthesizers, and the apocalyptic vision of his latest album.        20985072         http://dev.creativeloafing.com/image/2017/12/Music_Numan2_1_05.5a28d16f79139.png                  Gary Numan's 'Savage' world "
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Show Preview

Thursday December 7, 2017 05:15 am EST
On Trump: 'The more I saw, the more I was inspired to write' | more...

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$15. 8:30 p.m. Wed., Dec. 13. With Smut and Material Girls. Terminal West, 887 W. Marietta St. N.W., Studio C. 404-876-5566. www.terminalwestatl.com.

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Sunday December 3, 2017 02:42 pm EST
The Nashville indie rock trio shows off songs from its latest Sub Pop release, 'Losing' | more...
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Since the arrival his 2013 debut album, The Life and Times of Jonny Valiant, Rittz has watched his buzz soar to an all-time high.

In September, the North Atlanta Metro area rapper, born Jonathan McCollum, released his fourth studio album, Last Call. This also marks an amicable end to his record deal with Kansas City rapper Tech N9ne's independently run label, Strange Music. Last Call finds Rittz deploying his rapid-fire flows to tell stories, provide social commentary, and share his own personal struggles. With songs such as "Down For Mine," "Dork Rap," and "I'm Only Human," Rittz pulls heavily on the street-smart, cool, and cocky influence of Bone Thugs-N-Harmony with a Southern twist and rock infused production to create a sound that's far from cookie cutter.

$20-$25. 8 p.m. Tues., Dec. 12. With Sam Lachow and Eric Biddines. The Loft, 1734 W. Peachtree St. 404-885-1365. www.centerstage-atlanta.com.





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''[https://local.creativeloafing.com/event-139544-RITTZ--The-|$20-$25. 8 p.m. Tues., Dec. 12. With Sam Lachow and Eric Biddines. The Loft, 1734 W. Peachtree St. 404-885-1365. www.centerstage-atlanta.com.]''





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Sunday December 3, 2017 02:10 pm EST
The rapid-fire North Atlanta rapper plays songs from his latest album, 'Last Call' | more...
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Friday December 1, 2017 06:20 pm EST
Junglepussy, Lord Narf, and more fill out the lineup for the latest Redbull Sound Select showcase | more...
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Show Preview

Thursday November 30, 2017 04:54 pm EST
Jim Heath and Co. are back on the road, playing songs from throughout a career steeped in country rumination and psychobilly freakouts | more...
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  string(1760) "Formed in Los Angeles in 2009, Bestial Mouths debuted with the Stable Vices EP, a five-track release that struck in the veins of darkwave and goth with frontwomn Lynette Cerezo's harrowing voice wailing through hissing synths and industrial beats. Since then, Cerezo has carried the project through various lineups, relocated to Berlin, and has curated Bestial Mouths' sound in the tiers of goth and industrial, pulling from different influences such as post-punk, new wave, and minimal synth. Now operating as a duo with newest transplant Brant Showers, Bestial Mouths' third full-length Heartless (Cleopatra Records) is full of Cerezo's howls and chilling synthesizers burrowed in tribal beats that culminate a truly in-your-face live experience.

Before Bestial Mouths, Cerezo spent about a year living in Atlanta and became acquainted with the music scene here in 2006, notably playing in the goth/no wave project African Greys with Chris Daresta (DKA Records, Anticipation). Cerezo, along with touring band members Lisa Cuthbert (synthesizers) and Dylan Travis (drums), plays the caverns of 529 nearing the end of a 20-date tour in support of (Still) Heartless, a digital remix LP released in March 2017.

In addition to Bestial Mouths' return, Daresta will be rolling out a new incarnation of his former live solo project Dry Lungs, an experimental and industrial noise outfit with members William Henis (ex-Irreversible) and Jacob Armando (ex-Death Stuff). The night will be topped off with more enticement as DKA Records DJ's spin records through the fog for another signature DKA Goth Danse Party.

With Material Body, Dry Lungs, and DKA goth danse party. Free (donations). 9 p.m. 529. 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com."
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Before Bestial Mouths, Cerezo spent about a year living in Atlanta and became acquainted with the music scene here in 2006, notably playing in the goth/no wave project African Greys with Chris Daresta ([https://dkarecords.bandcamp.com/|DKA Records], [https://anticipation.bandcamp.com/|Anticipation]). Cerezo, along with touring band members Lisa Cuthbert (synthesizers) and Dylan Travis (drums), plays the caverns of 529 nearing the end of a 20-date tour in support of ''[https://bestialmouths.bandcamp.com/album/still-heartless|(Still) Heartless]'', a digital remix LP released in March 2017.

In addition to Bestial Mouths' return, Daresta will be rolling out a new incarnation of his former live solo project Dry Lungs, an experimental and industrial noise outfit with members William Henis (ex-Irreversible) and Jacob Armando (ex-Death Stuff). The night will be topped off with more enticement as DKA Records DJ's spin records through the fog for another signature DKA Goth Danse Party.

''[https://local.creativeloafing.com/event-161806-Bestial-Mouths,-Material-Body,-Dry-Lungs,-DKA-Goth-Danse-Party|With Material Body, Dry Lungs, and DKA goth danse party. Free (donations). 9 p.m. 529. 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com.]''"
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Show Preview

Wednesday November 29, 2017 06:36 pm EST
Berlin-based goth/darkwave duo take the stage at 529 with Dry Lungs and Material Body | more...
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  string(9482) "Since 1982, Dirty Rotten Imbeciles have circled the globe, playing a break-neck blend of crossover hardcore, punk, and thrash metal forged amid Houston, Texas' early skate-punk scene of the Reagan era. Better known to most as D.R.I., the group's sound culminates with recordings such 1985's Dealing With It, 1988's Four Of A Kind, and the 2015 EP But Wait ... There's More! Founding members vocalist Kurt Brecht and guitarist Spike Cassidy have remained at the helm leading an ever-shifting rhythm section. After keeping the band on the road for 35 years, D.R.I.'s anti-commercial, anti-authoritarian values are symbolized by its signature running man logo an emblem that signifies the whiplash fury and head-banging good time that has persevered through decades of changing trends in underground rock. Before making a stop at the Masquerade on Tues., Dec. 5, Brecht took a few minutes to talk about the group's early days on the road, the value of sticking to his D.I.Y. principles, and what might be next for D.R.I.

I often think of D.R.I. as one of the original groups that helped establish a path for touring punk and hardcore bands to make their way across the country.

There were other bands that seemed to have it together more than we did, back when we started out. Black Flag, M.D.C., and the Dead Kennedys were already touring extensively. So because of them we knew it was possible. We also used to look at Maximum Rocknroll's scene reports, and we'd talk to other bands: "Hey man, do you have a phone number for someone in Atlanta?" People would share information about who was promoting shows, and we'd call and hope the venue was still there. Venues came and went back then. Even promoters didn't stick with it for too long. They did it mostly as a labor of love, and eventually passed it along to someone else who wanted to do it. You had to constantly update your notebook of phone numbers and contacts back in those days.

But we were definitely doing it ourselves. Eventually we started using Black Flag's booking agent to book tours. That made us a little more professional, and we started getting treated better. Everything went up from there, and eventually we got a manager.

When we came through any city for first time people just kind of stood and watched and tried to digest it at the speed we were playing. But we'd come back the next time and people had the record. They knew the songs and were ready to thrash and have a good time.

Is there one piece of wisdom that you've learned from 35 years of D.I.Y. experience?

Do it yourself learn to do it yourself first. That means merchandise and everything. Later, if your band gets bigger to the point where you need help, you'll know what to expect from whoever you hire to do it. The quality of the shirts you're buying, how much they cost. Learn to do it yourself first instead of just saying "yes" to some company that wants to take over your merchandise. They usually won't do it as well as you do. They don't care about it as much as you do. That said, maybe you need help because you can't do it any more. I handle the merch, but in certain countries, fans won't leave you alone. It's more like a meet and greet, and they want to take pictures and sign autographs. So I need somebody to help.

You've written a handful of books over the years ...

Yes, on Dirty Rotten Press. That's my company. It was mostly journal-type things. Writing about experiences I'd had on the road, and experiences around the world. I don't have them in print too often, and some of them are very expensive now. I've seen some of them go for thousands of dollars. I try to buy them on Amazon or eBay, if I can find them for under $100, and sell them.

Have you considered compiling them into a collected works type of book?

I tried to at one point. I sent them out to some smaller book companies, distributors, publishers, that sort of thing. I told them how many I'd sold on my own, how we could put them together and sell them on the road, but everybody said no. Maybe that's changed by now. I could try again. You're not the first person to ask about that.

I hesitate to ask, because in every Youtube interview with you, I've seen someone bring up, "What's up with a new D.R.I. record?"

Laughs We came out with the But Wait... There's More! EP about a year-and-a-half ago. That was us kind of testing the water to see if the record company is happy with the sales. And to see if it's worth doing another record. We recorded the EP in a day or two while we had some time off from the road in L.A. It wasn't too difficult. What we cringe at is stopping the tour and going into the studio for months, or however long it takes, and writing the songs like we used to. I'd say another EP is probably a better possibility than a new LP at this point.

But Wait... There's More! has received really positive reviews, though. People come up to me to say how much they like it, so I guess that's a good sign.

What strikes me about the EP is that it feels like the group really focused on creating straight up hardcore songs.

Yeah, that's what we did, and that's why we put older songs like "Couch Slouch" and "Mad Man" on there. We play a lot of our songs a little differently now some a little faster. So with technology being so much better now we might as well throw them in there with a few new songs. And I am excited to record another new EP. We have some new songs ready to go. We'll see what happens.

... And now you finally have a recording with Harald Oimoen playing bass!

Laughs Yeah, he was happy about that. He was worried that he would never actually be on a D.R.I. recording. He's not with the band any more, but he was probably with us for about 15 years. Greg Orr is playing bass now. He's an old friend of ours from Attitude Adjustment and a few other bands.

And you're still using Walter "Monsta" Ryan on drums?

Yeah, he's really good, and his playing has definitely brought the band up a notch.

How is Spike's health? He's battled with cancer, but he appears to be doing well.

He's doing much better now. He has to watch what he eats and take care of himself even more than the average person has to. We didn't have to cancel any tours or shows this year, so that's a really good sign.

Is Pasadena Napalm Division still a living, breathing band for you?

Not really. P.N.D. was basically Dead Horse with me singing. So once Dead Horse got a singer, and their bass player was back with them, they started doing their own shows. They're not really interested in traveling much outside of Texas, but they're really big in Texas. They play here all the time.

P.N.D. got together when D.R.I. wasn't touring for a while. So when D.R.I. started touring again, the idea was to still play some shows, usually Dead Horse would play, then I'd jump up and do a half-an-hour of P.N.D. songs with them. We'd switch off headlining shows for a while, but when D.R.I. started touring there just wasn't time for it anymore.

Over the years, D.R.I. has tucked politically-minded and socially conscious songs onto its albums songs like "Reaganomics Killing Me ..."

Spike wrote that one. I don't write all of the lyrics, but I do write most of them. We try to mix it up, be a little bit lighthearted, but at the same time there are a lot of social and political type of songs in there.

Is there danger in being too pointed with political subject matter?

I never thought about it back then, but now, I can tell bands seem to be very concerned about it. You have to be careful about what you say or you could lose half of your audience. People are so sensitive now.

There's the "Gun Control" song on Thrash Zone.

Spike wrote that one, too. I wasn't really into singing it, you have to pick your battles. We don't play it live. If you read the lyrics what he's talking about is fully automatic weapons, and he's saying they're meant for the war, but they were already illegal. What he was saying is we need gun control to stop that. He was living in California when he wrote that, and they already have super strict gun control in place, so it didn't really make much sense to me. But he felt strongly about it.

Tackling those kinds of subjects seems more divisive in 2017 than ever before. I think it's because the internet has created this perception of reality where there are no gray areas in the world.

It's pretty rough when you have friends say "If you like so and so, delete me immediately off your friends list. I don't ever want to speak to you again!" So it's like wow, really? You're literally willing to lose half your friends? Some of them are just Facebook friends so it doesn't really count. But they're talking about anybody. If you disagree with them, that's it. You're done, over something fairly small.

After all these years is there one D.R.I. record that resonates with you more than the others?

Probably Dealing With It. It's so diverse and it was our best quality recording to that date. It has some of the same songs that were on the Dirty Rotten LP, but better quality recordings. It was a well-rounded, popular album. It started out with a little bit of crossover in there, but only a few people noticed it at the time.

D.R.I. plays the Masquerade on Tues., Dec. 5. With Kaustik, Eliminate Earth, Rotten Stitches, and the Breaknecks. $15. 7:30 p.m. Masquerade. 75 MLK Jr. Drive S.W. 404-577-8178. www.masq.com."
  ["tracker_field_contentWikiPage_raw"]=>
  string(9757) "Since 1982, [http://www.dirtyrottenimbeciles.com/|Dirty Rotten Imbeciles] have circled the globe, playing a break-neck blend of crossover hardcore, punk, and thrash metal forged amid Houston, Texas' early skate-punk scene of the Reagan era. Better known to most as D.R.I., the group's sound culminates with recordings such 1985's ''Dealing With It'', 1988's ''Four Of A Kind'', and the 2015 EP ''But Wait ... There's More!'' Founding members vocalist Kurt Brecht and guitarist Spike Cassidy have remained at the helm leading an ever-shifting rhythm section. After keeping the band on the road for 35 years, D.R.I.'s anti-commercial, anti-authoritarian values are symbolized by its signature running man logo an emblem that signifies the whiplash fury and head-banging good time that has persevered through decades of changing trends in underground rock. Before making a stop at the Masquerade on Tues., __Dec. 5__, Brecht took a few minutes to talk about the group's early days on the road, the value of sticking to his D.I.Y. principles, and what might be next for D.R.I.

__I often think of D.R.I. as one of the original groups that helped establish a path for touring punk and hardcore bands to make their way across the country.__

There were other bands that seemed to have it together more than we did, back when we started out. Black Flag, M.D.C., and the Dead Kennedys were already touring extensively. So because of them we knew it was possible. We also used to look at ''Maximum Rocknroll'''s scene reports, and we'd talk to other bands: "Hey man, do you have a phone number for someone in Atlanta?" People would share information about who was promoting shows, and we'd call and hope the venue was still there. Venues came and went back then. Even promoters didn't stick with it for too long. They did it mostly as a labor of love, and eventually passed it along to someone else who wanted to do it. You had to constantly update your notebook of phone numbers and contacts back in those days.

But we were definitely doing it ourselves. Eventually we started using Black Flag's booking agent to book tours. That made us a little more professional, and we started getting treated better. Everything went up from there, and eventually we got a manager.

When we came through any city for first time people just kind of stood and watched and tried to digest it at the speed we were playing. But we'd come back the next time and people had the record. They knew the songs and were ready to thrash and have a good time.

__Is there one piece of wisdom that you've learned from 35 years of D.I.Y. experience?__

Do it yourself learn to do it yourself first. That means merchandise and everything. Later, if your band gets bigger to the point where you need help, you'll know what to expect from whoever you hire to do it. The quality of the shirts you're buying, how much they cost. Learn to do it yourself first instead of just saying "yes" to some company that wants to take over your merchandise. They usually won't do it as well as you do. They don't care about it as much as you do. That said, maybe you need help because ''you'' can't do it any more. I handle the merch, but in certain countries, fans won't leave you alone. It's more like a meet and greet, and they want to take pictures and sign autographs. So I need somebody to help.

__You've written a handful of books over the years ...__

Yes, on Dirty Rotten Press. That's my company. It was mostly journal-type things. Writing about experiences I'd had on the road, and experiences around the world. I don't have them in print too often, and some of them are very expensive now. I've seen some of them go for thousands of dollars. I try to buy them on Amazon or eBay, if I can find them for under $100, and sell them.

__Have you considered compiling them into a collected works type of book?__

I tried to at one point. I sent them out to some smaller book companies, distributors, publishers, that sort of thing. I told them how many I'd sold on my own, how we could put them together and sell them on the road, but everybody said no. Maybe that's changed by now. I could try again. You're not the first person to ask about that.
{html}
__I hesitate to ask, because in every Youtube interview with you, I've seen someone bring up, "What's up with a new D.R.I. record?"__

[Laughs] We came out with the ''But Wait... There's More!'' EP about a year-and-a-half ago. That was us kind of testing the water to see if the record company is happy with the sales. And to see if it's worth doing another record. We recorded the EP in a day or two while we had some time off from the road in L.A. It wasn't too difficult. What we cringe at is stopping the tour and going into the studio for months, or however long it takes, and writing the songs like we used to. I'd say another EP is probably a better possibility than a new LP at this point.

''But Wait... There's More!'' has received really positive reviews, though. People come up to me to say how much they like it, so I guess that's a good sign.

__What strikes me about the EP is that it feels like the group really focused on creating straight up hardcore songs.__

Yeah, that's what we did, and that's why we put older songs like "Couch Slouch" and "Mad Man" on there. We play a lot of our songs a little differently now some a little faster. So with technology being so much better now we might as well throw them in there with a few new songs. And I am excited to record another new EP. We have some new songs ready to go. We'll see what happens.

__... And now you finally have a recording with Harald Oimoen playing bass!__

[Laughs] Yeah, he was happy about that. He was worried that he would never actually be on a D.R.I. recording. He's not with the band any more, but he was probably with us for about 15 years. Greg Orr is playing bass now. He's an old friend of ours from Attitude Adjustment and a few other bands.

__And you're still using Walter "Monsta" Ryan on drums?__

Yeah, he's really good, and his playing has definitely brought the band up a notch.

__How is Spike's health? He's battled with cancer, but he appears to be doing well.__

He's doing much better now. He has to watch what he eats and take care of himself even more than the average person has to. We didn't have to cancel any tours or shows this year, so that's a really good sign.

__Is [https://pasadenanapalmdivision.bandcamp.com/|Pasadena Napalm Division] still a living, breathing band for you?__

Not really. P.N.D. was basically Dead Horse with me singing. So once Dead Horse got a singer, and their bass player was back with them, they started doing their own shows. They're not really interested in traveling much outside of Texas, but they're really big in Texas. They play here all the time.

P.N.D. got together when D.R.I. wasn't touring for a while. So when D.R.I. started touring again, the idea was to still play some shows, usually Dead Horse would play, then I'd jump up and do a half-an-hour of P.N.D. songs with them. We'd switch off headlining shows for a while, but when D.R.I. started touring there just wasn't time for it anymore.

__Over the years, D.R.I. has tucked politically-minded and socially conscious songs onto its albums songs like "Reaganomics Killing Me ..."__

Spike wrote that one. I don't write all of the lyrics, but I do write most of them. We try to mix it up, be a little bit lighthearted, but at the same time there are a lot of social and political type of songs in there.

__Is there danger in being too pointed with political subject matter?__

I never thought about it back then, but now, I can tell bands seem to be very concerned about it. You have to be careful about what you say or you could lose half of your audience. People are so sensitive now.

__There's the "Gun Control" song on ''Thrash Zone''.__

Spike wrote that one, too. I wasn't really into singing it, you have to pick your battles. We don't play it live. If you read the lyrics what he's talking about is fully automatic weapons, and he's saying they're meant for the war, but they were already illegal. What he was saying is we need gun control to stop that. He was living in California when he wrote that, and they already have super strict gun control in place, so it didn't really make much sense to me. But he felt strongly about it.

__Tackling those kinds of subjects seems more divisive in 2017 than ever before. I think it's because the internet has created this perception of reality where there are no gray areas in the world.__

It's pretty rough when you have friends say "If you like so and so, delete me immediately off your friends list. I don't ever want to speak to you again!" So it's like wow, really? You're literally willing to lose half your friends? Some of them are just Facebook friends so it doesn't really count. But they're talking about anybody. If you disagree with them, that's it. You're done, over something fairly small.
{html}
__After all these years is there one D.R.I. record that resonates with you more than the others?__

Probably ''Dealing With It''. It's so diverse and it was our best quality recording to that date. It has some of the same songs that were on the ''Dirty Rotten'' LP, but better quality recordings. It was a well-rounded, popular album. It started out with a little bit of crossover in there, but only a few people noticed it at the time.

''[https://local.creativeloafing.com/event-125226-D.R.I.,-Kaustik|D.R.I. plays the Masquerade on Tues., Dec. 5. With Kaustik, Eliminate Earth, Rotten Stitches, and the Breaknecks. $15. 7:30 p.m. Masquerade. 75 MLK Jr. Drive S.W. 404-577-8178. www.masq.com.]''"
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  string(10130) " Dri HiRes2.5a1ed9fca5b34  2018-03-19T22:39:33+00:00 dri_hiRes2.5a1ed9fca5b34.jpg     After decades on the road, the iconic crossover hardcore torchbearer sticks to his own D.I.Y. standards 3748  2017-11-29T20:00:00+00:00 'Who Am I?' A conversation with D.R.I. vocalist Kurt Brecht clint@thenetworkedplanet.com Clint Bergst Chad Radford Chad Radford 2017-11-29T20:00:00+00:00  Since 1982, Dirty Rotten Imbeciles have circled the globe, playing a break-neck blend of crossover hardcore, punk, and thrash metal forged amid Houston, Texas' early skate-punk scene of the Reagan era. Better known to most as D.R.I., the group's sound culminates with recordings such 1985's Dealing With It, 1988's Four Of A Kind, and the 2015 EP But Wait ... There's More! Founding members vocalist Kurt Brecht and guitarist Spike Cassidy have remained at the helm leading an ever-shifting rhythm section. After keeping the band on the road for 35 years, D.R.I.'s anti-commercial, anti-authoritarian values are symbolized by its signature running man logo an emblem that signifies the whiplash fury and head-banging good time that has persevered through decades of changing trends in underground rock. Before making a stop at the Masquerade on Tues., Dec. 5, Brecht took a few minutes to talk about the group's early days on the road, the value of sticking to his D.I.Y. principles, and what might be next for D.R.I.

I often think of D.R.I. as one of the original groups that helped establish a path for touring punk and hardcore bands to make their way across the country.

There were other bands that seemed to have it together more than we did, back when we started out. Black Flag, M.D.C., and the Dead Kennedys were already touring extensively. So because of them we knew it was possible. We also used to look at Maximum Rocknroll's scene reports, and we'd talk to other bands: "Hey man, do you have a phone number for someone in Atlanta?" People would share information about who was promoting shows, and we'd call and hope the venue was still there. Venues came and went back then. Even promoters didn't stick with it for too long. They did it mostly as a labor of love, and eventually passed it along to someone else who wanted to do it. You had to constantly update your notebook of phone numbers and contacts back in those days.

But we were definitely doing it ourselves. Eventually we started using Black Flag's booking agent to book tours. That made us a little more professional, and we started getting treated better. Everything went up from there, and eventually we got a manager.

When we came through any city for first time people just kind of stood and watched and tried to digest it at the speed we were playing. But we'd come back the next time and people had the record. They knew the songs and were ready to thrash and have a good time.

Is there one piece of wisdom that you've learned from 35 years of D.I.Y. experience?

Do it yourself learn to do it yourself first. That means merchandise and everything. Later, if your band gets bigger to the point where you need help, you'll know what to expect from whoever you hire to do it. The quality of the shirts you're buying, how much they cost. Learn to do it yourself first instead of just saying "yes" to some company that wants to take over your merchandise. They usually won't do it as well as you do. They don't care about it as much as you do. That said, maybe you need help because you can't do it any more. I handle the merch, but in certain countries, fans won't leave you alone. It's more like a meet and greet, and they want to take pictures and sign autographs. So I need somebody to help.

You've written a handful of books over the years ...

Yes, on Dirty Rotten Press. That's my company. It was mostly journal-type things. Writing about experiences I'd had on the road, and experiences around the world. I don't have them in print too often, and some of them are very expensive now. I've seen some of them go for thousands of dollars. I try to buy them on Amazon or eBay, if I can find them for under $100, and sell them.

Have you considered compiling them into a collected works type of book?

I tried to at one point. I sent them out to some smaller book companies, distributors, publishers, that sort of thing. I told them how many I'd sold on my own, how we could put them together and sell them on the road, but everybody said no. Maybe that's changed by now. I could try again. You're not the first person to ask about that.

I hesitate to ask, because in every Youtube interview with you, I've seen someone bring up, "What's up with a new D.R.I. record?"

Laughs We came out with the But Wait... There's More! EP about a year-and-a-half ago. That was us kind of testing the water to see if the record company is happy with the sales. And to see if it's worth doing another record. We recorded the EP in a day or two while we had some time off from the road in L.A. It wasn't too difficult. What we cringe at is stopping the tour and going into the studio for months, or however long it takes, and writing the songs like we used to. I'd say another EP is probably a better possibility than a new LP at this point.

But Wait... There's More! has received really positive reviews, though. People come up to me to say how much they like it, so I guess that's a good sign.

What strikes me about the EP is that it feels like the group really focused on creating straight up hardcore songs.

Yeah, that's what we did, and that's why we put older songs like "Couch Slouch" and "Mad Man" on there. We play a lot of our songs a little differently now some a little faster. So with technology being so much better now we might as well throw them in there with a few new songs. And I am excited to record another new EP. We have some new songs ready to go. We'll see what happens.

... And now you finally have a recording with Harald Oimoen playing bass!

Laughs Yeah, he was happy about that. He was worried that he would never actually be on a D.R.I. recording. He's not with the band any more, but he was probably with us for about 15 years. Greg Orr is playing bass now. He's an old friend of ours from Attitude Adjustment and a few other bands.

And you're still using Walter "Monsta" Ryan on drums?

Yeah, he's really good, and his playing has definitely brought the band up a notch.

How is Spike's health? He's battled with cancer, but he appears to be doing well.

He's doing much better now. He has to watch what he eats and take care of himself even more than the average person has to. We didn't have to cancel any tours or shows this year, so that's a really good sign.

Is Pasadena Napalm Division still a living, breathing band for you?

Not really. P.N.D. was basically Dead Horse with me singing. So once Dead Horse got a singer, and their bass player was back with them, they started doing their own shows. They're not really interested in traveling much outside of Texas, but they're really big in Texas. They play here all the time.

P.N.D. got together when D.R.I. wasn't touring for a while. So when D.R.I. started touring again, the idea was to still play some shows, usually Dead Horse would play, then I'd jump up and do a half-an-hour of P.N.D. songs with them. We'd switch off headlining shows for a while, but when D.R.I. started touring there just wasn't time for it anymore.

Over the years, D.R.I. has tucked politically-minded and socially conscious songs onto its albums songs like "Reaganomics Killing Me ..."

Spike wrote that one. I don't write all of the lyrics, but I do write most of them. We try to mix it up, be a little bit lighthearted, but at the same time there are a lot of social and political type of songs in there.

Is there danger in being too pointed with political subject matter?

I never thought about it back then, but now, I can tell bands seem to be very concerned about it. You have to be careful about what you say or you could lose half of your audience. People are so sensitive now.

There's the "Gun Control" song on Thrash Zone.

Spike wrote that one, too. I wasn't really into singing it, you have to pick your battles. We don't play it live. If you read the lyrics what he's talking about is fully automatic weapons, and he's saying they're meant for the war, but they were already illegal. What he was saying is we need gun control to stop that. He was living in California when he wrote that, and they already have super strict gun control in place, so it didn't really make much sense to me. But he felt strongly about it.

Tackling those kinds of subjects seems more divisive in 2017 than ever before. I think it's because the internet has created this perception of reality where there are no gray areas in the world.

It's pretty rough when you have friends say "If you like so and so, delete me immediately off your friends list. I don't ever want to speak to you again!" So it's like wow, really? You're literally willing to lose half your friends? Some of them are just Facebook friends so it doesn't really count. But they're talking about anybody. If you disagree with them, that's it. You're done, over something fairly small.

After all these years is there one D.R.I. record that resonates with you more than the others?

Probably Dealing With It. It's so diverse and it was our best quality recording to that date. It has some of the same songs that were on the Dirty Rotten LP, but better quality recordings. It was a well-rounded, popular album. It started out with a little bit of crossover in there, but only a few people noticed it at the time.

D.R.I. plays the Masquerade on Tues., Dec. 5. With Kaustik, Eliminate Earth, Rotten Stitches, and the Breaknecks. $15. 7:30 p.m. Masquerade. 75 MLK Jr. Drive S.W. 404-577-8178. www.masq.com.    Colin Davis DEALING WITH IT: D.R.I. vocalist and co-founder Kurt Brecht (second from left).        20984159         http://dev.creativeloafing.com/image/2017/11/dri_hiRes2.5a1eda744a7f9.png                  'Who Am I?' A conversation with D.R.I. vocalist Kurt Brecht "
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Wednesday November 29, 2017 03:00 pm EST
After decades on the road, the iconic crossover hardcore torchbearer sticks to his own D.I.Y. standards | more...
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     Rick Campbell GLAM TINGE: Caberet-punk outfit Material Girls are set to stun at the upcoming Ohmpark Fest.        20984087         http://dev.creativeloafing.com/image/2017/11/Material_Girls.5a20693c26ef6.png                  Ohmpark Fest returns to 529 and the Earl Jan. 6 "
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Tuesday November 28, 2017 07:43 pm EST
Dot.s, Material Girls, Goldyard, and more play the annual East Atlanta local music blowout | more...
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  string(1313) " 02 Jacob Banks 2017.5a1c459d50e02  2018-03-19T22:08:20+00:00 02_Jacob_Banks_2017.5a1c459d50e02.jpg     The Birmingham, UK-based singer plays songs from his latest EP, 'The Boy Who Cried Freedom' 3745  2017-11-27T22:01:00+00:00 Jacob Banks brings his soulful voice to Aisle 5 on Dec. 5 clint@thenetworkedplanet.com Clint Bergst Jerel Marshall  2017-11-27T22:01:00+00:00  Since 2012, soul singer and songwriter Jacob Banks has been racking up acclaim and building a fanbase that spans the globe. The Nigerian-born, Birmingham, U.K.-based singer creates radio-ready blues ballads anchored by his soulful voice. In April, Banks released, The Boy Who Cried Freedom (Darkroom/Interscope), a six-song EP that showcases his pension for storytelling. The standout track, "Chainsmoking," features the 26-year-old howling about the inescapable pull of a toxic relationship. Banks employs relatable situations and an impressive vocal range to create songs that are bound to stir the emotions of listeners.


$15-$18. 9 p.m. Tues., Dec. 5. With Bibi Bourelly. Aisle 5, 1125 Euclid Ave. N.E. www.aisle5atl.com.    Johnny Fonesca Jacob Banks        20983892         http://dev.creativeloafing.com/image/2017/11/02_Jacob_Banks_2017.5a1c55d25833a.png                  Jacob Banks brings his soulful voice to Aisle 5 on Dec. 5 "
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Monday November 27, 2017 05:01 pm EST
The Birmingham, UK-based singer plays songs from his latest EP, 'The Boy Who Cried Freedom' | more...
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  string(4550) "Looking to start a debate with the family this holiday season about something other than politics? I have an idea that's sure to start a heated discussion but won't result in anyone being excommunicated from the family.

Ask your relatives if they think hip-hop is a form of poetry and watch as the room becomes divided over the topic. Some might find similarities in the lyricism and cadence of certain rappers to that of spoken word artists. Others might argue that artists such as Talib Kweli, Kenderick Lamar, and J. Cole are more closely linked to the art form than Migos, Rae Sremmurd, or Young Dolph. Like the upcoming year-end rankings from your favorite publications, you'll likely feel that some responses are completely wrong and others are sort of right. Mostly, though, it's all subjective.

If the conversation is particularly intriguing, and you're not sick of your family after dinner, there's a chance to test your opinions by watching spoken word artists battle rappers in a lighthearted competition this weekend.

Poetry vs. Hip-hop was created to highlight the best of both art forms. And in a city known for its contributions to hip-hop and its strong spoken word community, there's no better place to pit the two against each other. And to show off their commonalities, perhaps.

Atlanta resident and spoken word artist Queen Sheba describes Poetry vs. Hip-Hop as a "Def Poetry Jam meets Wild N Out meets 106 & Park freestyle battle." Only one of those shows presently remains on air, but all three are known for engaging audiences with an entertaining show that highlighted the top talent of its medium.

Sheba has been hosting poetry slams since 1998, but she didn't get the idea for Poetry vs. Hip-Hop until three years ago. At the time, she was working as the booking manager for Apache Caf̩ and looking for an idea to fill a blank date on the venue's calendar. Jacksonville spoken word artist Moses West suggested she host an event where poets and emcees could engage in a friendly battle to see whose medium reigns supreme. Today, Sheba, and her business partner and fianc̩, DJ Knodat, produce two Poetry vs. Hip-Hop events in Atlanta each year and travel to cities such as Phoenix and Memphis, highlighting five poets and five rappers in each city. Sheba said it's important that the two-and-a-half-hour show reflects the talent and identity of each city. Since she began hosting the events, Sheba said almost all of the shows have sold out.

The event is divided into rounds and at the end of each session, the audience chooses the winner.

"I feel like we're always trying to prove our weight in the hip-hop world, and the hip-hop artists are always trying to prove that their genre is better than poetry," Sheba said. "It's really just to see who has the better wit, the better edge, the better pen."

To ensure that the competition doesn't get too heated, participants have to hug it out on stage after each round. The winner takes home a small cash prize ("not anything worth bragging about"), while the loser gets a notebook and is encouraged to continue writing.

While she serves as the permanent captain of the poetry team for each show, Sheba admits she has a deep respect for hip-hop.

"A lot of my cadence comes from hip-hop, but I want to make sure to stray true to storytelling so that people remain interested in what I have to say," she says. "It's kind of like having the beat in the background. Some people think that I'm rapping, but I'm not."

The Atlanta events take place annually in May, during the Tamika Festival hosted by Tamika "Georgia Me" Harper, a Tony, Emmy and Peabody-award winning poet, and Thanksgiving weekend. This year's Nov. 25 show at Aisle 5 will feature a performance by the Hamiltones, Anthony Hamilton's backup singers, and poet Ashlee Haze. Tickets are $15-$20 before the show and $25 at the door.

Tchaikovsky's The Nutcracker meets hip-hop during this imaginative national tour. Visit 1980s Brooklyn by way of the Fox Theatre this Christmas season. Hip-Hop Nutcracker visits the historic Atlanta venue on Nov. 26.

 

Lil Uzi Vert will perform hits from his mixtapes and new debut album "Luv Is Rage 2" at the Tabernacle on Nov. 28.

Jewel Wicker is an Atlanta native and award-winning freelance reporter who has been covering the music industry and hip-hop in Atlanta since she was a college student at Georgia State University. In her spare time, she loves to eat lemon pepper wings and debates the validity of your favorite artists.

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Ask your relatives if they think hip-hop is a form of poetry and watch as the room becomes divided over the topic. Some might find similarities in the lyricism and cadence of certain rappers to that of spoken word artists. Others might argue that artists such as Talib Kweli, Kenderick Lamar, and J. Cole are more closely linked to the art form than Migos, Rae Sremmurd, or Young Dolph. Like the upcoming year-end rankings from your favorite publications, you'll likely feel that some responses are completely wrong and others are sort of right. Mostly, though, it's all subjective.

If the conversation is particularly intriguing, and you're not sick of your family after dinner, there's a chance to test your opinions by watching spoken word artists battle rappers in a lighthearted competition this weekend.

[http://www.poetryvshiphop.live/|Poetry vs. Hip-hop] was created to highlight the best of both art forms. And in a city known for its contributions to hip-hop and its strong spoken word community, there's no better place to pit the two against each other. And to show off their commonalities, perhaps.
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Atlanta resident and spoken word artist Queen Sheba describes Poetry vs. Hip-Hop as a "Def Poetry Jam meets Wild N Out meets 106 & Park freestyle battle." Only one of those shows presently remains on air, but all three are known for engaging audiences with an entertaining show that highlighted the top talent of its medium.

Sheba has been hosting poetry slams since 1998, but she didn't get the idea for Poetry vs. Hip-Hop until three years ago. At the time, she was working as the booking manager for Apache Caf̩ and looking for an idea to fill a blank date on the venue's calendar. Jacksonville spoken word artist Moses West suggested she host an event where poets and emcees could engage in a friendly battle to see whose medium reigns supreme. Today, Sheba, and her business partner and fianc̩, DJ Knodat, produce two Poetry vs. Hip-Hop events in Atlanta each year and travel to cities such as Phoenix and Memphis, highlighting five poets and five rappers in each city. Sheba said it's important that the two-and-a-half-hour show reflects the talent and identity of each city. Since she began hosting the events, Sheba said almost all of the shows have sold out.

The event is divided into rounds and at the end of each session, the audience chooses the winner.

"I feel like we're always trying to prove our weight in the hip-hop world, and the hip-hop artists are always trying to prove that their genre is better than poetry," Sheba said. "It's really just to see who has the better wit, the better edge, the better pen."

To ensure that the competition doesn't get too heated, participants have to hug it out on stage after each round. The winner takes home a small cash prize ("not anything worth bragging about"), while the loser gets a notebook and is encouraged to continue writing.

While she serves as the permanent captain of the poetry team for each show, Sheba admits she has a deep respect for hip-hop.

"A lot of my cadence comes from hip-hop, but I want to make sure to stray true to storytelling so that people remain interested in what I have to say," she says. "It's kind of like having the beat in the background. Some people think that I'm rapping, but I'm not."

The Atlanta events take place annually in May, during the Tamika Festival hosted by Tamika "Georgia Me" Harper, a Tony, Emmy and Peabody-award winning poet, and Thanksgiving weekend. This year's __Nov. 25__ show at Aisle 5 will feature a performance by the Hamiltones, Anthony Hamilton's backup singers, and poet Ashlee Haze. Tickets are $15-$20 before the show and $25 at the door.

Tchaikovsky's ''The Nutcracker'' meets hip-hop during this imaginative national tour. Visit 1980s Brooklyn by way of the Fox Theatre this Christmas season. [https://foxtheatre.org/events/hip-hop-nutcracker/|__Hip-Hop Nutcracker__] visits the historic Atlanta venue on __Nov. 26__.

 

[https://concerts1.livenation.com/event/0E00534BC1B27218?tm_link=artist_msg-0_0E00534BC1B27218&crosssite=TM_US:2119391:115031&_ga=2.126687821.1730608726.1510719017-932879370.1507565738&f_PPL=true&ab=efeat5787v1|__Lil Uzi Vert__ will perform] hits from his mixtapes and new debut album "Luv Is Rage 2" at the Tabernacle on __Nov. 28__.

''Jewel Wicker is an Atlanta native and award-winning freelance reporter who has been covering the music industry and hip-hop in Atlanta since she was a college student at Georgia State University. In her spare time, she loves to eat lemon pepper wings and debates the validity of your favorite artists.''

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  string(4903) "    With strong hip-hop and spoken word communities, Atlanta is the perfect city for this event   2017-11-25T04:31:00+00:00 Poetry vs. Hip-Hop offers a friendly competition clint@thenetworkedplanet.com Clint Bergst Jewel Wicker  2017-11-25T04:31:00+00:00  Looking to start a debate with the family this holiday season about something other than politics? I have an idea that's sure to start a heated discussion but won't result in anyone being excommunicated from the family.

Ask your relatives if they think hip-hop is a form of poetry and watch as the room becomes divided over the topic. Some might find similarities in the lyricism and cadence of certain rappers to that of spoken word artists. Others might argue that artists such as Talib Kweli, Kenderick Lamar, and J. Cole are more closely linked to the art form than Migos, Rae Sremmurd, or Young Dolph. Like the upcoming year-end rankings from your favorite publications, you'll likely feel that some responses are completely wrong and others are sort of right. Mostly, though, it's all subjective.

If the conversation is particularly intriguing, and you're not sick of your family after dinner, there's a chance to test your opinions by watching spoken word artists battle rappers in a lighthearted competition this weekend.

Poetry vs. Hip-hop was created to highlight the best of both art forms. And in a city known for its contributions to hip-hop and its strong spoken word community, there's no better place to pit the two against each other. And to show off their commonalities, perhaps.

Atlanta resident and spoken word artist Queen Sheba describes Poetry vs. Hip-Hop as a "Def Poetry Jam meets Wild N Out meets 106 & Park freestyle battle." Only one of those shows presently remains on air, but all three are known for engaging audiences with an entertaining show that highlighted the top talent of its medium.

Sheba has been hosting poetry slams since 1998, but she didn't get the idea for Poetry vs. Hip-Hop until three years ago. At the time, she was working as the booking manager for Apache Caf̩ and looking for an idea to fill a blank date on the venue's calendar. Jacksonville spoken word artist Moses West suggested she host an event where poets and emcees could engage in a friendly battle to see whose medium reigns supreme. Today, Sheba, and her business partner and fianc̩, DJ Knodat, produce two Poetry vs. Hip-Hop events in Atlanta each year and travel to cities such as Phoenix and Memphis, highlighting five poets and five rappers in each city. Sheba said it's important that the two-and-a-half-hour show reflects the talent and identity of each city. Since she began hosting the events, Sheba said almost all of the shows have sold out.

The event is divided into rounds and at the end of each session, the audience chooses the winner.

"I feel like we're always trying to prove our weight in the hip-hop world, and the hip-hop artists are always trying to prove that their genre is better than poetry," Sheba said. "It's really just to see who has the better wit, the better edge, the better pen."

To ensure that the competition doesn't get too heated, participants have to hug it out on stage after each round. The winner takes home a small cash prize ("not anything worth bragging about"), while the loser gets a notebook and is encouraged to continue writing.

While she serves as the permanent captain of the poetry team for each show, Sheba admits she has a deep respect for hip-hop.

"A lot of my cadence comes from hip-hop, but I want to make sure to stray true to storytelling so that people remain interested in what I have to say," she says. "It's kind of like having the beat in the background. Some people think that I'm rapping, but I'm not."

The Atlanta events take place annually in May, during the Tamika Festival hosted by Tamika "Georgia Me" Harper, a Tony, Emmy and Peabody-award winning poet, and Thanksgiving weekend. This year's Nov. 25 show at Aisle 5 will feature a performance by the Hamiltones, Anthony Hamilton's backup singers, and poet Ashlee Haze. Tickets are $15-$20 before the show and $25 at the door.

Tchaikovsky's The Nutcracker meets hip-hop during this imaginative national tour. Visit 1980s Brooklyn by way of the Fox Theatre this Christmas season. Hip-Hop Nutcracker visits the historic Atlanta venue on Nov. 26.

 

Lil Uzi Vert will perform hits from his mixtapes and new debut album "Luv Is Rage 2" at the Tabernacle on Nov. 28.

Jewel Wicker is an Atlanta native and award-winning freelance reporter who has been covering the music industry and hip-hop in Atlanta since she was a college student at Georgia State University. In her spare time, she loves to eat lemon pepper wings and debates the validity of your favorite artists.

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Friday November 24, 2017 11:31 pm EST
With strong hip-hop and spoken word communities, Atlanta is the perfect city for this event | more...

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11. Danger Mouse, Run the Jewels, and Big Boi team up for the "Chase Me" 12-inch featured on the Baby Driver soundtrack (Columbia Records)




10. Leonard Nimoy | Mr. Spock's Music From Outer Space LP, classic reissue from 1967 (Varese Sarabande)



9. Black Lips | This Sick Beat! EP ft. "Ask For the Wolfman", "58 Drops", "The Last Cul de Sac" (new mix), "It Won't Be Long" (new mix) 10-inch produced by Sean Lennon (Chimera Music)




  8. Gram Parsons & the Fallen Angels | Live 1973 Featuring Emmylou Harris (Sierra High Fidelity)



7. Scream | No More Censorship LP (Southern Lord)



6. Chris Bell | The Complete Chris Bell 6xLP box set (Omnivore Recordings)




    5. 45 Grave | Sleep In Safety limited edition "ghastly green" vinyl LP reissue of a West Coast death rock classic featuring members of the Germs, the Bags, the Gun Club, the Screamers, and more (Real Gone Music)




4. Sun Ra | Exotica 3xLP or 2xCD (Modern Harmonic)

Exotica is definitely one of the more sought after Black Friday titles this year. The album finds a few Sun Ra classics reinvented with Latin beats and Afro-centric grooves a la Les Baxter. There are a handful of a few previously unreleased numbers as well.




  3. Butthole Surfers | Locust Abortion Technician 30th anniversary 10-inch EP (5 Music)

From the Butthole Surfers' Facebook page:

"Sometime in 1986, the band decided that we were tired of living on the road, that it was time to find a home. We were in San Francisco at the time and chose our new hometown by throwing a dart at a map. The dart landed on Athens, Georgia, so off to Georgia we went. We soon realized that we couldn't actually afford to rent a house in Athens, but were able to find a 2-bedroom rental house in tiny nearby Winterville. We used our meager savings to purchase an old Ampex 8-track tape machine, two microphones, and recorded what would become our third full-length LP "Locust Abortion Technician. To commemorate the 30th anniversary of the album, we decided to re-release it as a 10" Vinyl EP this November."




  2. Albert Ayler & Don Cherry | Vibrations (ORG Music)

Also released under the name Ghosts, this record is the second offering from the Albert Ayler quartet featuring Ayler on saxophone, the almighty Don Cherry playing trumpet, Gary Peacock on bass, and Sonny Murray manning the drum kit.

The album was originally recorded in Copenhagen, Denmark, in the fall of 1964. This reissue is pressed on a swirl of blue white vinyl, and was remastered given the full-on audiophile treatment via Pallas in Germany. Vibrations is one of the great albums of the free jazz movement, snag one up while you can.




  1. Wynonie Harris (ft. Sun Ra) | "Dig This Boogie" b/w "Lightnin' Struck the Poor House" (Modern Harmonic)

Wynonie Harris was from Omaha. Sun Ra was from Saturn. They made beautiful music together way back in 1946. This 7-inch is couched as Sun Ra's debut recording, although Sun Ra purists will argue the semantic validity of such a bold claim.

Still, it's close enough, and an essential early look at both performers' formative years. BONUS: The cover art for this 7-inch reissue of the original 78 comes courtesy of illustrator, designer, animator, and comics artist Cal Schenkel who's best known for creating cover art for Frank Zappa, the Fugs, Captain Beefheart, and more.

Read about more Record Store Day Black Friday releases."
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11. __Danger Mouse, Run the Jewels, and Big Boi__ team up for the "Chase Me" 12-inch featured on the ''Baby Driver'' soundtrack (Columbia Records)



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10. __Leonard Nimoy | __''Mr. Spock's Music From Outer Space'' LP, classic reissue from 1967 (Varese Sarabande)



9. __Black Lips __| ''This Sick Beat!'' EP ft. "Ask For the Wolfman", "58 Drops", "The Last Cul de Sac" (new mix), "It Won't Be Long" (new mix) 10-inch produced by Sean Lennon (Chimera Music)



{HTML()}Gram ParsonsGRAM PARSONS & THE FALLEN ANGELS: Live 1973 ft. Emmylou Harris.Courtesy Sierra High Fidelity{HTML}
 %%% 8. __Gram Parsons & the Fallen Angels __| ''Live 1973 Featuring Emmylou Harris ''(Sierra High Fidelity)



7. __Scream __|__ __''No More Censorship'' LP (Southern Lord)



6. __Chris Bell__ | ''The Complete Chris Bell'' 6xLP box set (Omnivore Recordings)



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 %%%  %%% 5. __45 Grave__ | ''Sleep In Safety'' limited edition "ghastly green" vinyl LP reissue of a West Coast death rock classic featuring members of the Germs, the Bags, the Gun Club, the Screamers, and more (Real Gone Music)



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4. __Sun Ra __| ''Exotica ''3xLP or 2xCD (Modern Harmonic)

Exotica is definitely one of the more sought after Black Friday titles this year. The album finds a few Sun Ra classics reinvented with Latin beats and Afro-centric grooves a la Les Baxter. There are a handful of a few previously unreleased numbers as well.



{HTML()}Locust Abortion TechBUTTHOLE SURFERS: Locust Abortion Technician EP.Courtesy 5 MusicAlbert Ayler VibrationsALBERT AYLER & DON CHERRY: "Vibrations"Courtesy ORG Music{HTML}
 %%% 2. __Albert Ayler & Don Cherry __| ''Vibrations (ORG Music)''

Also released under the name ''Ghosts'', this record is the second offering from the Albert Ayler quartet featuring Ayler on saxophone, the almighty Don Cherry playing trumpet, Gary Peacock on bass, and Sonny Murray manning the drum kit.

The album was originally recorded in Copenhagen, Denmark, in the fall of 1964. This reissue is pressed on a swirl of blue white vinyl, and was remastered given the full-on audiophile treatment via Pallas in Germany. Vibrations is one of the great albums of the free jazz movement, snag one up while you can.



{HTML()}Wynonie Sun RaWYNONIE HARRIS (FT. SUN RA): "Dig This Boogie" b/w "Lightnin' Struck the Poor House" 7-inch.Courtesy Modern Harmonic{HTML}
 %%% 1. __Wynonie Harris (ft. Sun Ra) __| "Dig This Boogie" b/w "Lightnin' Struck the Poor House" (Modern Harmonic)

Wynonie Harris was from Omaha. Sun Ra was from Saturn. They made beautiful music together ''way'' back in 1946. This 7-inch is couched as Sun Ra's debut recording, although Sun Ra purists will argue the semantic validity of such a bold claim.

Still, it's close enough, and an essential early look at both performers' formative years. BONUS: The cover art for this 7-inch reissue of the original 78 comes courtesy of illustrator, designer, animator, and comics artist [http://ralf.com/|Cal Schenkel] who's best known for creating cover art for Frank Zappa, the Fugs, Captain Beefheart, and more.

''[http://recordstoreday.com/SpecialReleases|Read about more Record Store Day Black Friday releases.]''"
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11. Danger Mouse, Run the Jewels, and Big Boi team up for the "Chase Me" 12-inch featured on the Baby Driver soundtrack (Columbia Records)




10. Leonard Nimoy | Mr. Spock's Music From Outer Space LP, classic reissue from 1967 (Varese Sarabande)



9. Black Lips | This Sick Beat! EP ft. "Ask For the Wolfman", "58 Drops", "The Last Cul de Sac" (new mix), "It Won't Be Long" (new mix) 10-inch produced by Sean Lennon (Chimera Music)




  8. Gram Parsons & the Fallen Angels | Live 1973 Featuring Emmylou Harris (Sierra High Fidelity)



7. Scream | No More Censorship LP (Southern Lord)



6. Chris Bell | The Complete Chris Bell 6xLP box set (Omnivore Recordings)




    5. 45 Grave | Sleep In Safety limited edition "ghastly green" vinyl LP reissue of a West Coast death rock classic featuring members of the Germs, the Bags, the Gun Club, the Screamers, and more (Real Gone Music)




4. Sun Ra | Exotica 3xLP or 2xCD (Modern Harmonic)

Exotica is definitely one of the more sought after Black Friday titles this year. The album finds a few Sun Ra classics reinvented with Latin beats and Afro-centric grooves a la Les Baxter. There are a handful of a few previously unreleased numbers as well.




  3. Butthole Surfers | Locust Abortion Technician 30th anniversary 10-inch EP (5 Music)

From the Butthole Surfers' Facebook page:

"Sometime in 1986, the band decided that we were tired of living on the road, that it was time to find a home. We were in San Francisco at the time and chose our new hometown by throwing a dart at a map. The dart landed on Athens, Georgia, so off to Georgia we went. We soon realized that we couldn't actually afford to rent a house in Athens, but were able to find a 2-bedroom rental house in tiny nearby Winterville. We used our meager savings to purchase an old Ampex 8-track tape machine, two microphones, and recorded what would become our third full-length LP "Locust Abortion Technician. To commemorate the 30th anniversary of the album, we decided to re-release it as a 10" Vinyl EP this November."




  2. Albert Ayler & Don Cherry | Vibrations (ORG Music)

Also released under the name Ghosts, this record is the second offering from the Albert Ayler quartet featuring Ayler on saxophone, the almighty Don Cherry playing trumpet, Gary Peacock on bass, and Sonny Murray manning the drum kit.

The album was originally recorded in Copenhagen, Denmark, in the fall of 1964. This reissue is pressed on a swirl of blue white vinyl, and was remastered given the full-on audiophile treatment via Pallas in Germany. Vibrations is one of the great albums of the free jazz movement, snag one up while you can.




  1. Wynonie Harris (ft. Sun Ra) | "Dig This Boogie" b/w "Lightnin' Struck the Poor House" (Modern Harmonic)

Wynonie Harris was from Omaha. Sun Ra was from Saturn. They made beautiful music together way back in 1946. This 7-inch is couched as Sun Ra's debut recording, although Sun Ra purists will argue the semantic validity of such a bold claim.

Still, it's close enough, and an essential early look at both performers' formative years. BONUS: The cover art for this 7-inch reissue of the original 78 comes courtesy of illustrator, designer, animator, and comics artist Cal Schenkel who's best known for creating cover art for Frank Zappa, the Fugs, Captain Beefheart, and more.

Read about more Record Store Day Black Friday releases.             20983758         http://dev.creativeloafing.com/image/2017/11/Locust_Abortion_Tech.5a160c0b98e44.png                  Black Friday top 11 "
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Show Preview

Wednesday November 22, 2017 08:27 pm EST
Sun Ra, Spock, Run the Jewels, and more record store scores to kick off the holiday shopping blitz | more...
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  ["title"]=>
  string(59) "Meet 7 women who inspired CLAVVS' new single 'Like Daggers'"
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  string(95) "From Medusa to Maya Angelou, Amber Rene̩ shouts out the ladies who remind her of her own power"
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"Like Daggers" came to me as a response to my fascination with the phrase "paper tiger," this delicate, pseudo-ferocious image. It occurred to me that I have often been treated as a paper tiger as something that may appear somewhat fearsome but, in reality, is comically easy to destroy. I wanted to write a song to challenge that. I thought about every woman who has ever made me feel strong and complex and multidimensional, and I wrote a song to remind me of my own power. These are a few of the women (fictional and otherwise) who inspired me. Amber Renee




1. Arya Stark of "A Song of Ice and Fire" aka "Game of Thrones"

Spoiler alert It's like that moment when you realize it's Arya who has just poisoned the entire Frey family and you're giddy because she's finally gotten some revenge for the Red Wedding, but you're also kind of terrified of her now. And then she kicks Brienne's ass in one-on-one combat right before she teams up with Sansa to pull the metaphorical ladder out from Littlefinger's feet, and you're just completely overwhelmed by the badass that she's become.




2. Margaret Atwood

I just finished watching Margaret Atwood's "Alias Grace" on Netflix, and I couldn't have asked for a better analogy for what this song is about. Seriously, watch it (or read it!). "The Handmaid's Tale" is another stroke of Atwood's incomparable genius. She writes fiction that redistributes power back to women all while telling fascinating and honest human stories.




3. Nadezhda Andreyevna Tolokonnikova of Pussy Riot

All of Pussy Riot should be in this spot, but if I can only choose one, I'll talk about Nadya who is a fearsome, brave, kick-ass human being. She spent two years in prison for singing an anti-Putin protest song in a prominent Russian Orthodox church. The hook lyrics command Mother Mary to become a feminist, which is just totally subversive and rad. Pussy Riot continues to use its music to protest racism, misogyny, xenophobia, and fascism.




4. Maya Angelou

She famously said, "I love to see a young girl go out and grab the world by the lapels. Life's a bitch. You've got to go out and kick ass." This may be the best quote of all time. But she also wrote "Phenomenal Woman" and "Still I Rise," which are two of the best poems ever written. She wasn't just a writer though she was an activist, a journalist, an actor, a director, and a play producer, among other things.




5. Jenny Lewis

Jenny Lewis remains one of my biggest musical influences. As the frontwoman of Rilo Kiley, she was perhaps the first artist I heard being painfully honest about her experiences as a woman. She's absolutely brilliant, and her songs helped shape me into a rebellious, unapologetically vulnerable human being. Rilo Kiley's "A Better Son/Daughter" and "Spectacular Views" are must-listens, but her latest solo record, "The Voyager," is a masterstroke.




6. Medusa

I adore Greek mythology. If you listen to any of our lyrics, you'll soon find this out. Sirens are a recurring motif because they are undeniably dope. They lure dudes to their deaths using only their voices. Medusa is equally as awesome. She can turn people to stone with her eyes, and she legit has snakes for hair. I have to give props to Greek mythology for it's badass female figures, even if they're all portrayed as evil. Honorable mention goes to Eve, Lilith, and the Lorelei of German lore.




7. J.K. Rowling

She's queen of slaying all the fuckboys on Twitter, but she also invented Hermione Granger at a time when girls my age didn't often see smart, capable, heroic young women reflected back at us in our media. I can't imagine the person I would be without the Harry Potter books' impact on my life. In case you were wondering, I'm a Gryffindor and Graham's a *proud* Hufflepuff.

CLAVVS play Aisle 5 Sat., Dec. 2. $10-$15. 9 p.m. With Bells and Robes and Mr. Mind. 1123 Euclid Ave. N.E. www.aisle5atl.com."
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"Like Daggers" came to me as a response to my fascination with the phrase "paper tiger," this delicate, pseudo-ferocious image. It occurred to me that I have often been treated as a paper tiger as something that may appear somewhat fearsome but, in reality, is comically easy to destroy. I wanted to write a song to challenge that. I thought about every woman who has ever made me feel strong and complex and multidimensional, and I wrote a song to remind me of my own power. These are a few of the women (fictional and otherwise) who inspired me. Amber Renee



{HTML()}

via GIPHY{HTML} 1. __Arya Stark__ of "A Song of Ice and Fire" aka "Game of Thrones" [Spoiler alert] It's like that moment when you realize it's Arya who has just poisoned the entire Frey family and you're giddy because she's finally gotten some revenge for the Red Wedding, but you're also kind of terrified of her now. And then she kicks Brienne's ass in one-on-one combat right before she teams up with Sansa to pull the metaphorical ladder out from Littlefinger's feet, and you're just completely overwhelmed by the badass that she's become. {HTML()}

via GIPHY

{HTML} 2. __Margaret Atwood__ I just finished watching Margaret Atwood's "Alias Grace" on Netflix, and I couldn't have asked for a better analogy for what this song is about. Seriously, watch it (or read it!). "The Handmaid's Tale" is another stroke of Atwood's incomparable genius. She writes fiction that redistributes power back to women all while telling fascinating and honest human stories. {HTML()}{HTML} 3. __Nadezhda Andreyevna Tolokonnikova__ of [https://www.facebook.com/wearepussyriot/|Pussy Riot] All of Pussy Riot should be in this spot, but if I can only choose one, I'll talk about Nadya who is a fearsome, brave, kick-ass human being. She spent two years in prison for singing an anti-Putin protest song in a prominent Russian Orthodox church. The hook lyrics command Mother Mary to become a feminist, which is just totally subversive and rad. Pussy Riot continues to use its music to protest racism, misogyny, xenophobia, and fascism. {HTML()}

via GIPHY{HTML} 4. __Maya Angelou__ She famously said, "I love to see a young girl go out and grab the world by the lapels. Life's a bitch. You've got to go out and kick ass." This may be the best quote of all time. But she also wrote "Phenomenal Woman" and "Still I Rise," which are two of the best poems ever written. She wasn't just a writer though she was an activist, a journalist, an actor, a director, and a play producer, among other things. {HTML()}{HTML} 5. __Jenny Lewis__ Jenny Lewis remains one of my biggest musical influences. As the frontwoman of Rilo Kiley, she was perhaps the first artist I heard being painfully honest about her experiences as a woman. She's absolutely brilliant, and her songs helped shape me into a rebellious, unapologetically vulnerable human being. Rilo Kiley's "A Better Son/Daughter" and "Spectacular Views" are must-listens, but her latest solo record, "The Voyager," is a masterstroke. {HTML()}

via GIPHY{HTML} 6. __Medusa__ I adore Greek mythology. If you listen to any of our lyrics, you'll soon find this out. Sirens are a recurring motif because they are undeniably dope. They lure dudes to their deaths using only their voices. Medusa is equally as awesome. She can turn people to stone with her eyes, and she legit has snakes for hair. I have to give props to Greek mythology for it's badass female figures, even if they're all portrayed as evil. Honorable mention goes to Eve, Lilith, and the Lorelei of German lore. {HTML()}

via GIPHY{HTML} 7. __J.K. Rowling__ She's queen of slaying all the fuckboys on Twitter, but she also invented Hermione Granger at a time when girls my age didn't often see smart, capable, heroic young women reflected back at us in our media. I can't imagine the person I would be without the Harry Potter books' impact on my life. In case you were wondering, I'm a Gryffindor and Graham's a *proud* Hufflepuff. ''[https://www.aisle5atl.com/event/1569101-clavvs-atlanta/|CLAVVS play Aisle 5 Sat., Dec. 2. $10-$15. 9 p.m. With Bells and Robes and Mr. Mind. ][https://www.aisle5atl.com/event/1569101-clavvs-atlanta/|1123 Euclid Ave. N.E. www.aisle5atl.com.]''" ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2018-02-12T23:05:42+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2018-03-18T23:57:24+00:00" ["tracker_field_photos"]=> string(4) "3710" ["tracker_field_contentPhotoCredit"]=> string(15) "Courtesy CLAVVS" ["tracker_field_contentPhotoTitle"]=> string(152) "NO PAPER TIGER: Amber Reneé (right), alongside proud Hufflepuff Graham Marsh, weighs in on the women who inspired CLAVVS latest single, 'Like Daggers.'" 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It occurred to me that I have often been treated as a paper tiger as something that may appear somewhat fearsome but, in reality, is comically easy to destroy. I wanted to write a song to challenge that. I thought about every woman who has ever made me feel strong and complex and multidimensional, and I wrote a song to remind me of my own power. These are a few of the women (fictional and otherwise) who inspired me. Amber Renee 1. Arya Stark of "A Song of Ice and Fire" aka "Game of Thrones" Spoiler alert It's like that moment when you realize it's Arya who has just poisoned the entire Frey family and you're giddy because she's finally gotten some revenge for the Red Wedding, but you're also kind of terrified of her now. And then she kicks Brienne's ass in one-on-one combat right before she teams up with Sansa to pull the metaphorical ladder out from Littlefinger's feet, and you're just completely overwhelmed by the badass that she's become. 2. Margaret Atwood I just finished watching Margaret Atwood's "Alias Grace" on Netflix, and I couldn't have asked for a better analogy for what this song is about. Seriously, watch it (or read it!). "The Handmaid's Tale" is another stroke of Atwood's incomparable genius. She writes fiction that redistributes power back to women all while telling fascinating and honest human stories. 3. Nadezhda Andreyevna Tolokonnikova of Pussy Riot All of Pussy Riot should be in this spot, but if I can only choose one, I'll talk about Nadya who is a fearsome, brave, kick-ass human being. She spent two years in prison for singing an anti-Putin protest song in a prominent Russian Orthodox church. The hook lyrics command Mother Mary to become a feminist, which is just totally subversive and rad. Pussy Riot continues to use its music to protest racism, misogyny, xenophobia, and fascism. 4. Maya Angelou She famously said, "I love to see a young girl go out and grab the world by the lapels. Life's a bitch. You've got to go out and kick ass." This may be the best quote of all time. But she also wrote "Phenomenal Woman" and "Still I Rise," which are two of the best poems ever written. She wasn't just a writer though she was an activist, a journalist, an actor, a director, and a play producer, among other things. 5. Jenny Lewis Jenny Lewis remains one of my biggest musical influences. As the frontwoman of Rilo Kiley, she was perhaps the first artist I heard being painfully honest about her experiences as a woman. She's absolutely brilliant, and her songs helped shape me into a rebellious, unapologetically vulnerable human being. Rilo Kiley's "A Better Son/Daughter" and "Spectacular Views" are must-listens, but her latest solo record, "The Voyager," is a masterstroke. 6. Medusa I adore Greek mythology. If you listen to any of our lyrics, you'll soon find this out. Sirens are a recurring motif because they are undeniably dope. They lure dudes to their deaths using only their voices. Medusa is equally as awesome. She can turn people to stone with her eyes, and she legit has snakes for hair. I have to give props to Greek mythology for it's badass female figures, even if they're all portrayed as evil. Honorable mention goes to Eve, Lilith, and the Lorelei of German lore. 7. J.K. Rowling She's queen of slaying all the fuckboys on Twitter, but she also invented Hermione Granger at a time when girls my age didn't often see smart, capable, heroic young women reflected back at us in our media. I can't imagine the person I would be without the Harry Potter books' impact on my life. In case you were wondering, I'm a Gryffindor and Graham's a *proud* Hufflepuff. CLAVVS play Aisle 5 Sat., Dec. 2. $10-$15. 9 p.m. With Bells and Robes and Mr. Mind. 1123 Euclid Ave. N.E. www.aisle5atl.com. Courtesy CLAVVS NO PAPER TIGER: Amber Reneé (right), alongside proud Hufflepuff Graham Marsh, weighs in on the women who inspired CLAVVS latest single, 'Like Daggers.' 20983350 http://dev.creativeloafing.com/image/2017/11/CL_CLAVVS.5a12721761e51.png Meet 7 women who inspired CLAVVS' new single 'Like Daggers' " ["score"]=> float(0) ["_index"]=> string(21) "atlantawiki_tiki_main" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(144) "CL CLAVVS.5a1270f3a0533 " ["desc"]=> string(104) "From Medusa to Maya Angelou, Amber Rene̩ shouts out the ladies who remind her of her own power" ["category"]=> string(12) "Show Preview" }

Show Preview

Monday November 20, 2017 06:06 am EST
From Medusa to Maya Angelou, Amber Rene̩ shouts out the ladies who remind her of her own power | more...
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With Plaque Marks and NAARC. $15-$17. 8:30 p.m. Mon., Nov. 20. The Earl, 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com."
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Show Preview

Saturday November 18, 2017 10:59 am EST
Gnash your teeth, flex your muscles, Chris Spencer and Co. are back with a blistering round of noise rock for now people | more...
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In his recently released book, The Free Musics, the 74-year-old Wright posits that free improvisation "exposes the gap separating human beings at play from musicians functioning as entertainers."

Sharing the bill and the philosophy are the duo Killick Hinds (guitar and devices) and Monique Osorio (voice) and Jon Ciliberto, whose work runs the gamut from alt-folk-pop songs to electronic noise experiments.

 

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[https://local.creativeloafing.com/event-159213-Roughhousing,-Killick-Hinds-&-Monique-Osorio,-and-Jon-Ciliberto|''$7-$10 (suggested donation). 8 p.m. Sat., Nov. 18. Mammal Gallery, 91 Broad St. www.mammalgallery.com.'']

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  string(1749) " Roughhousing 1 Photocredit ErniePaik .5a0dcdbc7361f  2018-03-22T20:46:03+00:00 Roughhousing_1_photocredit_ErniePaik_.5a0dcdbc7361f.jpg     The free improv trio is driven by the fierce, alchemical power of the moment 3897  2017-11-16T22:40:00+00:00 Roughhousing makes a boisterous noise clint@thenetworkedplanet.com Clint Bergst Doug DeLoach  2017-11-16T22:40:00+00:00  Roughhousing, defined as a form of boisterous play among friends, is the perfect moniker for a trio of transcendent improvisers. Jack Wright (saxophone), Zach Darrup (electric guitar), and Evan Lipson (double bass), three hardened veterans of the free improv scene, are driven by a fierce belief in the power of their cabalistic craft. Together, the trio conjures unadulterated, alchemical experiences that demand deep, in-the-moment listening. Taking the stage, the only thing up the trio's collective sleeve is a musical surprise, the texture, color, and shape of which they don't know until it's been rendered unto the listener by their fingertips, lips, and lungs.

In his recently released book, The Free Musics, the 74-year-old Wright posits that free improvisation "exposes the gap separating human beings at play from musicians functioning as entertainers."

Sharing the bill and the philosophy are the duo Killick Hinds (guitar and devices) and Monique Osorio (voice) and Jon Ciliberto, whose work runs the gamut from alt-folk-pop songs to electronic noise experiments.

 

$7-$10 (suggested donation). 8 p.m. Sat., Nov. 18. Mammal Gallery, 91 Broad St. www.mammalgallery.com.

     Ernie Paik FREE MUSIC: Jack Wright (from left), Zach Darrup, and Evan Lipson are Roughhousing.        20983129                           Roughhousing makes a boisterous noise "
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Show Preview

Thursday November 16, 2017 05:40 pm EST
The free improv trio is driven by the fierce, alchemical power of the moment | more...
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  string(14) "Pain is a gift"
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Darkness can be a liberating palette in the right hands.

Splayed across a canvas of tension, Atlanta quartet Cloak's debut album, To Venomous Depths, offers a study in saturated contrast and occult ambiance that acknowledges both the art and aesthetic of the sinister. 

Commanding swaths of primary dynamics and malevolent angles, Cloak grapples with what comes before and beyond life, with death and the rebirth of self, and how to differentiate an artistic project in and from the continuum of black metal.

Guitarist and vocalist Scott Taysom and drummer Sean Bruneau first started going over ideas for an extreme metal band in early 2013. They met guitarist Max Brigham later that year, and got down to jamming.

This earliest incarnation of Cloak leaned more toward the red-aura aggression of death metal. Bassist Matt Scott, for instance, clawed his way out of the crypt through shows at the P.S. Warehouse and 529, sharing the stage with Mangled, Sadistic Ritual, and other gory thrash gods as part of the band Living Decay.

This version of Cloak, however, didn't survive a year-long hiatus, and when the band reactivated in 2015, it tempered brutal technicality with more epic harmonics, unafraid to embrace both the chilling melodies of bands such as Sweden's Dissection and the mid-pace hooks of Deep Purple and Danzig.

The objective was to "gain power through simplicity, repetition, strong choruses something bands in the death metal genre typically don't do well a lot of the time," says Taysom by phone, taking a break from preparations for the band's record release show. "To me, there's a difference between songwriting and riff writing, and you can write as many great riffs as you want, but unless you know how to write transitions between them, a song isn't going to flow well.

Developing alongside, and yet disconnected from, the chaotic transcendence of the black metal scene anchored by bands like HellGoat and Vimur Cloak worked to hone a coherent style introspectively.

"I respect that every leader of those packs of bands is doing something different, but so is Cloak, and I think we just work better when we keep to ourselves," says Taysom. "I know what I wrote for this record was done in a secluded state, physically and mentally.

"I think pain is a gift, if you view it the right way, and change is, too," Taysom adds. "I went through a lot, a darker time, and I learned to welcome change with open arms. This isn't a concept album, but it's definitely a journey, a spiritual ascension of sorts."

What Cloak has done with To Venomous Depths, released through respected French indie label Season of Mist, following an EP on local imprint Boris Records, is a collection of nine surging, incisive tracks that look past the barriers of genre as readily as they do the shackles of mortality. Similar to the embrace of psych and prog rock by Sweden's Tribulation, or the ability to recall Thin Lizzy, Fucked Up, and Viking metal as done by Norway's Kvelertak, Cloak bolsters tremolo frenzies with power chord swagger as binding as any incantation.

Recorded with Joey Jones at Aria Studio in Marietta, To Venomous Depths maintains an open, relatively uncompressed production with boomy drums, destructive bass, distorted but articulated guitars, and caustic yet discernible vocals. Thinking toward future recordings, Taysom sees Cloak as a platform to incorporate whatever comes naturally whether that be a Doors-esque intro or a blast beat.

Similarly, he sees the band's shows as an opportunity to create an immersive communion, a chance to use everything from the fliers to the stage dressing to the edge of the other bands on the bill to liberate believers among the elongated shadows.

With Dropout, Ectovoid, and All Hell. $10. 8 p.m. Sat., Nov. 18. The Earl, 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.

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Show Preview" }

Music, Show Preview

Monday November 13, 2017 06:13 pm EST
Cloak transcends black metal chaos with occult ambiance | more...
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  string(22) "Modern English returns"
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  string(92) "With 'Take Me to the Trees' the 4AD staple grounds classic post-punk with modern DIY methods"
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  string(4054) "Ever since Modern English scored a hit with the 1982 single "I Melt With You,"the group has lingered in pop culture's collective subconscious. The song is heard during countless cinematic love scenes, from director Martha Coolidge's 1983 film Valley Girl to the Netflix original series "Stranger Things."It's also blasting on every '80s and new wave satellite radio station, and (more or) less romantically in Burger King, Taco Bell, and Hershey's chocolate commercials.

Modern English formed in Essex, England, during the wake of post-punk, circa 1979, with vocalist Robbie Grey, guitarist Gary McDowell, bassist Michael Conroy, keyboardist Stephen Walker, and drummer Richard Brown. Having signed with 4AD Records alongside artists such as Bauhaus, Cocteau Twins, Clan of Xymox, and Dead Can Dance, Modern English became a household name in the emerging tiers of post-punk and its subsets, goth, new wave, and darkwave. While the band's second album, After the Snow, changed the group's trajectory with an honest-to-goodness hit, "I'll Melt With You,"it is the previous album, 1981's Mesh & Lace, that grounded Modern English's musical roots, and still has them howling through the fog of goth dance parties.

Fast forward 35 years and Modern English has broken up, reformed twice, seen a variety of lineup changes, and recently released its first full-length album since 1996. Take Me to the Trees (released in September via InKind Music) features the group's original lineup, with all members reuniting in 2010 except drummer Richard Brown.

"When we got back into the rehearsal room, it was like the old days. It was a no-brainer,"says frontman Grey, who has carried the Modern English moniker since reforming in 1995. "In bands you need commitment. If you don't get that, nothing's gonna happen."

One thing that can be said about Modern English is that no two records repeat themselves; from the creepy, harrowing Mesh & Lace, to 1984's largely synth-driven Ricochet Days. Trees breaks new ground while distilling remnants of the past, with orchestrations from newcomer Alex Turk, new addition Roy Martin on drums, and produced by Martyn Young of Colourbox and the ahead-of-its-time outfit M/A/R/R/S (remember "Pump Up the Volume," anyone?). As such, the album vacillates between the tense rivulets of "Moonbeam"and the illustrious soundscapes of "Trees."

Albeit stripped down a bit, the new album is cut from the same songwriting elements that define After the Snow, while driven by the wild keyboards and guitar effects of Mesh & Lace.

Although "I'll Melt With You"has earned plenty of royalties, and provided the means for Modern English to carry on with its long tenure, Trees ... was recorded in a small art gallery in Suffolk, and was produced using Logic software rather than a posh recording studio. Without the pressures or restraints of a major label, the group took its time experimenting and embraced the modern, DIY ethos. While the ???80s saw independent labels gaining prominence and bands releasing their own material, the technology available to artists didn't allow them the freedom it does now.

"Recording now, if you're clever, you can do it the way you want to and not spend much money,"Grey says. "The difference from the '80s is the technology wasn't there. You had to go to studios; there was no other way of doing it. Now, anything is possible. You can do it in your bedroom if you want."

Modern English took Mesh & Lace on a special tour last year and is back on the road supporting Trees ... After all this time, and in all its tenacity, the group holds strong ties with younger fans' piqued interest in post-punk revivalism and the sounds of early 4AD and Factory Records.

"Nothing much has changed except the fact that our bodies are older,"says Grey. "We're older men playing, looking out to kids that look like we used to look 30 years ago."

 

With Entertainment. $30-$35. 7 p.m. Thurs., Nov. 16. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. www.variety-playhouse.com.

 "
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[http://www.modernenglish.me/|Modern English] formed in Essex, England, during the wake of post-punk, circa 1979, with vocalist Robbie Grey, guitarist Gary McDowell, bassist Michael Conroy, keyboardist Stephen Walker, and drummer Richard Brown. Having signed with 4AD Records alongside artists such as Bauhaus, Cocteau Twins, Clan of Xymox, and Dead Can Dance, Modern English became a household name in the emerging tiers of post-punk and its subsets, goth, new wave, and darkwave. While the band's second album, ''After the Snow'', changed the group's trajectory with an honest-to-goodness hit, "I'll Melt With You,"it is the previous album, 1981's ''Mesh & Lace'', that grounded Modern English's musical roots, and still has them howling through the fog of goth dance parties.
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Fast forward 35 years and Modern English has broken up, reformed twice, seen a variety of lineup changes, and recently released its first full-length album since 1996. ''Take Me to the Trees'' (released in September via [http://inkindmusic.com/|InKind Music]) features the group's original lineup, with all members reuniting in 2010 except drummer Richard Brown.

"When we got back into the rehearsal room, it was like the old days. It was a no-brainer,"says frontman Grey, who has carried the Modern English moniker since reforming in 1995. "In bands you need commitment. If you don't get [that], nothing's gonna happen."

One thing that can be said about Modern English is that no two records repeat themselves; from the creepy, harrowing ''Mesh & Lace'', to 1984's largely synth-driven ''Ricochet Days''. ''Trees'' breaks new ground while distilling remnants of the past, with orchestrations from newcomer Alex Turk, new addition Roy Martin on drums, and produced by Martyn Young of Colourbox and the ahead-of-its-time outfit M/A/R/R/S (remember [https://www.youtube.com/watch?v=p60LO_nqMF0|"Pump Up the Volume,]" anyone?). As such, the album vacillates between the tense rivulets of "Moonbeam"and the illustrious soundscapes of "Trees."
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Albeit stripped down a bit, the new album is cut from the same songwriting elements that define ''After the Snow'', while driven by the wild keyboards and guitar effects of ''Mesh & Lace''.

Although "I'll Melt With You"has earned plenty of royalties, and provided the means for Modern English to carry on with its long tenure, ''Trees ...'' was recorded in a small art gallery in Suffolk, and was produced using Logic software rather than a posh recording studio. Without the pressures or restraints of a major label, the group took its time experimenting and embraced the modern, DIY ethos. While the ???80s saw independent labels gaining prominence and bands releasing their own material, the technology available to artists didn't allow them the freedom it does now.

"Recording now, if you're clever, you can do it the way you want to and not spend much money,"Grey says. "The difference from the '80s is the technology wasn't there. You had to go to studios; there was no other way of doing it. Now, anything is possible. You can do it in your bedroom if you want."

Modern English took ''Mesh & Lace'' on a special tour last year and is back on the road supporting ''Trees'' ... After all this time, and in all its tenacity, the group holds strong ties with younger fans' piqued interest in post-punk revivalism and the sounds of early 4AD and Factory Records.

"Nothing much has changed except the fact that our bodies are older,"says Grey. "We're older men playing, looking out to kids that look like we used to look 30 years ago."

 

[https://local.creativeloafing.com/event-159086-Modern-English,-Entertainment|''With Entertainment. $30-$35. 7 p.m. Thurs., Nov. 16. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. www.variety-playhouse.com.'']

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  string(4670) " Modern English.5a098efb90001  2018-03-24T18:04:44+00:00 Modern_English.5a098efb90001.jpg     With 'Take Me to the Trees' the 4AD staple grounds classic post-punk with modern DIY methods 3949  2017-11-13T17:21:00+00:00 Modern English returns clint@thenetworkedplanet.com Clint Bergst Aja Arnold  2017-11-13T17:21:00+00:00  Ever since Modern English scored a hit with the 1982 single "I Melt With You,"the group has lingered in pop culture's collective subconscious. The song is heard during countless cinematic love scenes, from director Martha Coolidge's 1983 film Valley Girl to the Netflix original series "Stranger Things."It's also blasting on every '80s and new wave satellite radio station, and (more or) less romantically in Burger King, Taco Bell, and Hershey's chocolate commercials.

Modern English formed in Essex, England, during the wake of post-punk, circa 1979, with vocalist Robbie Grey, guitarist Gary McDowell, bassist Michael Conroy, keyboardist Stephen Walker, and drummer Richard Brown. Having signed with 4AD Records alongside artists such as Bauhaus, Cocteau Twins, Clan of Xymox, and Dead Can Dance, Modern English became a household name in the emerging tiers of post-punk and its subsets, goth, new wave, and darkwave. While the band's second album, After the Snow, changed the group's trajectory with an honest-to-goodness hit, "I'll Melt With You,"it is the previous album, 1981's Mesh & Lace, that grounded Modern English's musical roots, and still has them howling through the fog of goth dance parties.

Fast forward 35 years and Modern English has broken up, reformed twice, seen a variety of lineup changes, and recently released its first full-length album since 1996. Take Me to the Trees (released in September via InKind Music) features the group's original lineup, with all members reuniting in 2010 except drummer Richard Brown.

"When we got back into the rehearsal room, it was like the old days. It was a no-brainer,"says frontman Grey, who has carried the Modern English moniker since reforming in 1995. "In bands you need commitment. If you don't get that, nothing's gonna happen."

One thing that can be said about Modern English is that no two records repeat themselves; from the creepy, harrowing Mesh & Lace, to 1984's largely synth-driven Ricochet Days. Trees breaks new ground while distilling remnants of the past, with orchestrations from newcomer Alex Turk, new addition Roy Martin on drums, and produced by Martyn Young of Colourbox and the ahead-of-its-time outfit M/A/R/R/S (remember "Pump Up the Volume," anyone?). As such, the album vacillates between the tense rivulets of "Moonbeam"and the illustrious soundscapes of "Trees."

Albeit stripped down a bit, the new album is cut from the same songwriting elements that define After the Snow, while driven by the wild keyboards and guitar effects of Mesh & Lace.

Although "I'll Melt With You"has earned plenty of royalties, and provided the means for Modern English to carry on with its long tenure, Trees ... was recorded in a small art gallery in Suffolk, and was produced using Logic software rather than a posh recording studio. Without the pressures or restraints of a major label, the group took its time experimenting and embraced the modern, DIY ethos. While the ???80s saw independent labels gaining prominence and bands releasing their own material, the technology available to artists didn't allow them the freedom it does now.

"Recording now, if you're clever, you can do it the way you want to and not spend much money,"Grey says. "The difference from the '80s is the technology wasn't there. You had to go to studios; there was no other way of doing it. Now, anything is possible. You can do it in your bedroom if you want."

Modern English took Mesh & Lace on a special tour last year and is back on the road supporting Trees ... After all this time, and in all its tenacity, the group holds strong ties with younger fans' piqued interest in post-punk revivalism and the sounds of early 4AD and Factory Records.

"Nothing much has changed except the fact that our bodies are older,"says Grey. "We're older men playing, looking out to kids that look like we used to look 30 years ago."

 

With Entertainment. $30-$35. 7 p.m. Thurs., Nov. 16. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. www.variety-playhouse.com.

     Nikolai Puc’ Photography SHARP DRESSED MEN: Modern English are on tour supporting the group's latest album, 'Take Me to the Trees'        20982489         http://dev.creativeloafing.com/image/2017/11/Modern_English.5a098efb90001.5a0bce259718f.png                  Modern English returns "
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Show Preview

Monday November 13, 2017 12:21 pm EST
With 'Take Me to the Trees' the 4AD staple grounds classic post-punk with modern DIY methods | more...
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  string(3311) ""We are a nation polarized, a society reeling," Jan Baker and Stuart Gerber declare in the introduction to Bent Frequency's "with love, we resist," a program of contemporary chamber music focused on overcoming the climate of injustice permeating American culture in 2017.

Baker and Gerber are the artistic directors of Atlanta's new music ensemble Bent Frequency. The five compositions they have selected to perform as part of "with love, we resist," confront subjects ranging from gun violence and social inequality to climate change and presidential accountability. Tonight (Sat., Nov. 11), Bent Frequency channels the spirit of resistance into an evening of avant-garde music as fiery as it is forward-thinking.

THE PROGRAM
American composer and pianist Frederic Rzewski's eight-part composition titled "The Fall of the Empire" combines percussion with spoken texts drawn from disparate sources, including Thomas Jefferson and Charles Dickens. Baker describes the work as "a general commentary on the United States' role as a world leader, which addresses various issues, such as global warming and the 'War on Terror,' and the limiting of personal liberty and free speech within that context."

"RIPT," which was written by Florida-based composer Dorothy Hindman for the Bent Frequency Duo Project featuring Baker on saxophone and Gerber on percussion, incorporates text and music from Chicago rapper Freddo Santana's "Beef." Impetus for the work came in part from a 2012 incident in Jacksonville, Florida, when Michael David Dunn, a 47-year-old white male, shot and killed 17-year-old Jordan Russell Davis, who was black, because Davis and his friends were playing music, including "Beef," too loudly. "I took the song, deconstructed it, and put it back together in certain ways, which became my small way of memorializing that young man's story," says Hindman in a Facebook video.

Daniel Felsenfeld's "Presidential Address" puts the spotlight on sexual assault and harassment by scoring President Trump's infamous "you can grab them by the pussy" comments for soprano voice and piano, performed by Amy Petrongelli and Tim Whitehead.

Two pieces, "My Feelings Now" by Eve Beglarian, a Michigan-born composer, performer, and audio producer of Armenian heritage, and "I will learn to love a person" by Christopher Cerrone, a member of the Brooklyn-based Sleeping Giant composer collective, reflect the "with love" side of the evening's program. "Both of these works are focused on the subject of love, although love is not always easy or an easy subject," says Baker. "Both are lush, beautiful compositions, very much in the traditional sense of the 'love song.'"

In a time of ceaselessly vexing news, relentless authoritarian pressure and unprecedented official corruption, one may rightly seek inspiration, catharsis and a path forward in the arts. "In such times, it is the duty of the artist to interpret, to comment, and even to resist," Baker and Gerber add in their introduction to the evening's work. Such is the nature of "with love, we resist."

Bent Frequency performs in the Florence Kopleff Recital Hall at Georgia State University. Free. 8 p.m. Sat., Nov. 11. 10 Peachtree Center Ave. S.E. (near the intersection of Edgewood and Peachtree Center avenues). 404-413-5900.

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Baker and Gerber are the artistic directors of Atlanta's new music ensemble Bent Frequency. The five compositions they have selected to perform as part of "with love, we resist," confront subjects ranging from gun violence and social inequality to climate change and presidential accountability. Tonight (Sat., __Nov. 11__), Bent Frequency channels the spirit of resistance into an evening of avant-garde music as fiery as it is forward-thinking.

__[https://www.facebook.com/events/1938853736438603/|THE PROGRAM]__
American composer and pianist Frederic Rzewski's eight-part composition titled __"The Fall of the Empire"__ combines percussion with spoken texts drawn from disparate sources, including Thomas Jefferson and Charles Dickens. Baker describes the work as "a general commentary on the United States' role as a world leader, which addresses various issues, such as global warming and the 'War on Terror,' and the limiting of personal liberty and free speech within that context."

__"RIPT,"__ which was written by Florida-based composer Dorothy Hindman for the Bent Frequency Duo Project featuring Baker on saxophone and Gerber on percussion, incorporates text and music from Chicago rapper Freddo Santana's "Beef." Impetus for the work came in part from a 2012 incident in Jacksonville, Florida, when Michael David Dunn, a 47-year-old white male, shot and killed 17-year-old Jordan Russell Davis, who was black, because Davis and his friends were playing music, including "Beef," too loudly. "I took the song, deconstructed it, and put it back together in certain ways, which became my small way of memorializing that young man's story," says Hindman [https://www.facebook.com/dorothy.hindman.9|in a Facebook video].

Daniel Felsenfeld's __"Presidential Address" __puts the spotlight on sexual assault and harassment by scoring President Trump's infamous "you can grab them by the pussy" comments for soprano voice and piano, performed by Amy Petrongelli and Tim Whitehead.

Two pieces, __"My Feelings Now"__ by Eve Beglarian, a Michigan-born composer, performer, and audio producer of Armenian heritage, and __"I will learn to love a person"__ by Christopher Cerrone, a member of the Brooklyn-based Sleeping Giant composer collective, reflect the "with love" side of the evening's program. "Both of these works are focused on the subject of love, although love is not always easy or an easy subject," says Baker. "Both are lush, beautiful compositions, very much in the traditional sense of the 'love song.'"

In a time of ceaselessly vexing news, relentless authoritarian pressure and unprecedented official corruption, one may rightly seek inspiration, catharsis and a path forward in the arts. "In such times, it is the duty of the artist to interpret, to comment, and even to resist," Baker and Gerber add in their introduction to the evening's work. Such is the nature of "with love, we resist."

[https://www.facebook.com/events/1938853736438603/|''Bent Frequency performs in the Florence Kopleff Recital Hall at Georgia State University. Free. 8 p.m. Sat., Nov. 11. 10 Peachtree Center Ave. S.E. (near the intersection of Edgewood and Peachtree Center avenues). 404-413-5900.'']

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Baker and Gerber are the artistic directors of Atlanta's new music ensemble Bent Frequency. The five compositions they have selected to perform as part of "with love, we resist," confront subjects ranging from gun violence and social inequality to climate change and presidential accountability. Tonight (Sat., Nov. 11), Bent Frequency channels the spirit of resistance into an evening of avant-garde music as fiery as it is forward-thinking.

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Daniel Felsenfeld's "Presidential Address" puts the spotlight on sexual assault and harassment by scoring President Trump's infamous "you can grab them by the pussy" comments for soprano voice and piano, performed by Amy Petrongelli and Tim Whitehead.

Two pieces, "My Feelings Now" by Eve Beglarian, a Michigan-born composer, performer, and audio producer of Armenian heritage, and "I will learn to love a person" by Christopher Cerrone, a member of the Brooklyn-based Sleeping Giant composer collective, reflect the "with love" side of the evening's program. "Both of these works are focused on the subject of love, although love is not always easy or an easy subject," says Baker. "Both are lush, beautiful compositions, very much in the traditional sense of the 'love song.'"

In a time of ceaselessly vexing news, relentless authoritarian pressure and unprecedented official corruption, one may rightly seek inspiration, catharsis and a path forward in the arts. "In such times, it is the duty of the artist to interpret, to comment, and even to resist," Baker and Gerber add in their introduction to the evening's work. Such is the nature of "with love, we resist."

Bent Frequency performs in the Florence Kopleff Recital Hall at Georgia State University. Free. 8 p.m. Sat., Nov. 11. 10 Peachtree Center Ave. S.E. (near the intersection of Edgewood and Peachtree Center avenues). 404-413-5900.

     H. Robert Baker PEACE AND LOVE: Bent Frequency presents “with love, we resist,” a program focused on contemporary issues, at GSU’s Kopleff Recital Hall.        20982471         http://dev.creativeloafing.com/image/2017/11/Bent_Frequency_group.5a0715d693c93.png                  Bent Frequency takes on modern times "
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Saturday November 11, 2017 03:21 pm EST
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  string(1613) "Eyedrum Art & Music Gallery is making good on its promise to focus on fostering local talent, a mission shared by contemporary music outfit Terminus Ensemble. This Sunday, November 12, Terminus presents a program of complete works and short preludes by Atlanta composers Nicole Chamberlain, Eddie Farr, and Michael Kurth, along with other works by composers from the Southeast.

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Included in the evening's program are two works for solo flute played by Terminus' Amy Caputo. The first work was composed by University of Georgia alumnus John Hennecken. "A Route of Evanescence" is inspired by an eight-line Emily Dickinson poem, which evokes the simplistic imagery of a hummingbird encountering flowers, rendered in lush, expressive language.

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  string(2171) " Terminus 2015 1206 1 Edit.5a061747d4d37  2018-03-22T17:07:01+00:00 Terminus_2015_1206_1_edit.5a061747d4d37.jpg     Fresh, locally sourced chamber music takes root at Eyedrum Nov. 12 3876  2017-11-11T02:02:00+00:00 Terminus Ensemble thinks globally, acts locally clint@thenetworkedplanet.com Clint Bergst Doug DeLoach  2017-11-11T02:02:00+00:00  Eyedrum Art & Music Gallery is making good on its promise to focus on fostering local talent, a mission shared by contemporary music outfit Terminus Ensemble. This Sunday, November 12, Terminus presents a program of complete works and short preludes by Atlanta composers Nicole Chamberlain, Eddie Farr, and Michael Kurth, along with other works by composers from the Southeast.

Included in the evening's program are two works for solo flute played by Terminus' Amy Caputo. The first work was composed by University of Georgia alumnus John Hennecken. "A Route of Evanescence" is inspired by an eight-line Emily Dickinson poem, which evokes the simplistic imagery of a hummingbird encountering flowers, rendered in lush, expressive language.

The second piece, "Smorgasbord," written by flutist Nicole Chamberlain, challenges the performer to maneuver through an obstacle course of styles and techniques including punching, clicking, and bending notes, as well as singing while playing.

Other selections on the playlist include the first movement of "The Hedgehog Tree" (for flute, viola, tenor sax, and cello) by Atlanta Symphony Orchestra bass player Michael Kurth and "Tumble," a composition for solo cello by University of North Carolina professor John Allemeier.

Sunday's program is a testament both to Terminus Ensemble's commitment to showcasing the richness and depth of talent in Atlanta's contemporary chamber ensemble community and Eyedrum's role in providing a platform for such adventurous music.

Free. 8 p.m. Eyedrum Art & Music Gallery. 88 Forsyth St S.W. 770-676-1605. www.eyedrum.org.    Brent Milam Terminus Ensemble        20982454         http://dev.creativeloafing.com/image/2017/11/Terminus_2015_1206_1_edit.5a061747d4d37.png                  Terminus Ensemble thinks globally, acts locally "
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Friday November 10, 2017 09:02 pm EST
Fresh, locally sourced chamber music takes root at Eyedrum Nov. 12 | more...
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  string(4092) "Robyn Hitchcock is on the road, traversing the States playing songs from throughout his career leading up to his latest self-titled album which arrived in April via Yep Roc. Since his days performing with the Soft Boys in the late '70s, the British-born Nashville-transplant Hitchcock's songs have remained steeped in psychedelic, whimsical, and oftentimes surrealist imagery. For this tour, he's encouraging fans to Facebook in any requests they have, specifying which shows they're attending.

Before taking the stage at Eddie's Attic Nov. 11-12, Hitchcock checked in for a quick chat about his new album, the song "Mad Shelly," and growing up with all the "spoilt kids from the Welfare State."

When you play Atlanta on this tour stop are you performing solo, or will you be accompanied by anyone else? 

The only visible performer will be me during my set; but make sure you come early to catch Tristen & Buddy. Her record is a strong one.

Why make your latest album self-titled? With 21 albums under your belt, did you feel like this one is a return to form of sorts, or a break from your typical working methods? 

Not really ... It's more a distillation of everything I've done, returning one more time to the old template of two electric guitars, bass, and drums with three-part harmonies. It's descended from Buddy Holly, via the Beatles and the Byrds, and Big Star. And the Belbet Underground all the Bs.

One song from the new album that strikes me as foundational is "Mad Shelly's Letterbox." It embodies the spirit of this record in a pretty rockin' way. Can you tell me about what inspired the song, and the imagery you use in the lyrics? 

Ah, Mad Shelley she did nothing with her life; like a flower that grew in a wood, unseen wasted her beauty and her rage all she had to do was inspire these songs. I envy her the lack of effort, but it was probably a struggle for her too. I think of her as an abandoned bride, still breathing amidst the cobwebs, half-spider now. But laughing, always laughing... Waiting for her great big birthday party.

There is an old saying in rock 'n' roll: "If you've taken more than 20 minutes to write a song, you've taken too long." Do you find that to be true? If so, can you give me an example of a song that came out of you fully formed? 

That song did, pretty much. Most of the songs on this record came out fully formed they didn't need much pruning. I don't know where they came from I haven't finished anything since, song-wise.

I recently came across a quote in which you describe your new album as "an ecstatic work of negativity." It reminds me that the first songs I ever heard by you is "If You Were A Priest." I've always honed in on a sort of punk sensibility in that song I've heard DJs spin it seamlessly between songs by the Damned ("New Rose") and the Buzzcocks ("What Do I Get"). I detect a thread of blue, amped-up commonality there. The language, imagery, and arrangements in your songs are more evolved, but it evokes a similar emotional response. How do you see yourself and your songwriting in relation to the punk aesthetic? 

I never shared the contempt for the melody or harmony that seemed at the core of punk. But a lot of the punk anti-aesthetic was probably imposed by Malcolm McLaren and the British music press. The initial "punk" bands just wanted to play the most exciting rock 'n' roll possible. With me in and out of the Soft Boys it was never quite that direct. We'd seen the exotic musical architecture of 1966/7 and we wanted to build something similar, or parallel, at least. Everything I've written from the first Soft Boys EP to my latest record is hatched from that same clutch of 1960s eggs. Does that make sense? But in our sociopathic repressed middle-class way we were probably as angry as the punks. All "spoilt kids from the Welfare State." What a dream!

Robyn Hitchcock plays Eddie's attic Sat., Nov. 11 (9 p.m.) and Sun., Nov. 12 (7:30 p.m.). With Tristen. $25 each night. Eddie's Attic. 515-B North McDonough St. (upstairs) 404-377-4976. www.eddiesattic.com.

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  string(5011) "{HTML()}Robyn HitchcockRobyn Hitchcock's self-titled album arrived in April via Yep Roc.Courtesy Big Hassle{HTML}[http://www.robynhitchcock.com/|Robyn Hitchcock] is on the road, traversing the States playing songs from throughout his career leading up to his latest self-titled album which arrived in April via Yep Roc. Since his days performing with the Soft Boys in the late '70s, the British-born Nashville-transplant Hitchcock's songs have remained steeped in psychedelic, whimsical, and oftentimes surrealist imagery. For this tour, he's encouraging fans to [https://www.facebook.com/robynhitchcockofficial/|Facebook in] any requests they have, specifying which shows they're attending.

Before taking the stage at Eddie's Attic __Nov. 11-12__, Hitchcock checked in for a quick chat about his new album, the song "Mad Shelly," and growing up with all the "spoilt kids from the Welfare State."

__When you play Atlanta on this tour stop are you performing solo, or will you be accompanied by anyone else? __

The only visible performer will be me during my set; but make sure you come early to catch [http://www.tristen.com/|Tristen] & Buddy. Her record is a strong one.

__Why make your latest album self-titled? With 21 albums under your belt, did you feel like this one is a return to form of sorts, or a break from your typical working methods? __

Not really ... It's more a distillation of everything I've done, returning one more time to the old template of two electric guitars, bass, and drums with three-part harmonies. It's descended from Buddy Holly, via the Beatles and the Byrds, and Big Star. And the Belbet Underground all the Bs.

__One song from the new album that strikes me as foundational is "Mad Shelly's Letterbox." It embodies the spirit of this record in a pretty rockin' way. Can you tell me about what inspired the song, and the imagery you use in the lyrics? __
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Ah, Mad Shelley she did nothing with her life; like a flower that grew in a wood, unseen wasted her beauty and her rage all she had to do was inspire these songs. I envy her the lack of effort, but it was probably a struggle for her too. I think of her as an abandoned bride, still breathing amidst the cobwebs, half-spider now. But laughing, always laughing... Waiting for her great big birthday party.

__There is an old saying in rock 'n' roll: "If you've taken more than 20 minutes to write a song, you've taken too long." Do you find that to be true? If so, can you give me an example of a song that came out of you fully formed? __

That song did, pretty much. Most of the songs on this record came out fully formed they didn't need much pruning. I don't know where they came from I haven't finished anything since, song-wise.

__I recently came across a quote in which you describe your new album as "an ecstatic work of negativity." It reminds me that the first songs I ever heard by you is [https://www.youtube.com/watch?v=L4FwedBODZY|"If You Were A Priest."] I've always honed in on a sort of punk sensibility in that song I've heard DJs spin it seamlessly between songs by the Damned ("New Rose") and the Buzzcocks ("What Do I Get"). I detect a thread of blue, amped-up commonality there. The language, imagery, and arrangements in your songs are more evolved, but it evokes a similar emotional response. How do you see yourself and your songwriting in relation to the punk aesthetic? __

I never shared the contempt for the melody or harmony that seemed at the core of punk. But a lot of the punk anti-aesthetic was probably imposed by Malcolm McLaren and the British music press. The initial "punk" bands just wanted to play the most exciting rock 'n' roll possible. With me in and out of the Soft Boys it was never quite that direct. We'd seen the exotic musical architecture of 1966/7 and we wanted to build something similar, or parallel, at least. Everything I've written from the first Soft Boys EP to my latest record is hatched from that same clutch of 1960s eggs. Does that make sense? But in our sociopathic repressed middle-class way we were probably as angry as the punks. All "spoilt kids from the Welfare State." What a dream!

''Robyn Hitchcock plays Eddie's attic [https://www.ticketfly.com/event/1515993?utm_medium=api|Sat., Nov. 11 (9 p.m.) ]and [https://www.ticketfly.com/event/1515950?utm_medium=api|Sun., Nov. 12 (7:30 p.m.)]. With Tristen. $25 each night. Eddie's Attic. 515-B North McDonough St. (upstairs) 404-377-4976. www.eddiesattic.com.''

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  string(4517) "    The British-born Nashville transplant ruminates on his self-titled album, punk rock, and all the Bs   2017-11-10T03:17:00+00:00 A conversation with Robyn Hitchcock clint@thenetworkedplanet.com Clint Bergst Chad Radford Chad Radford 2017-11-10T03:17:00+00:00  Robyn Hitchcock is on the road, traversing the States playing songs from throughout his career leading up to his latest self-titled album which arrived in April via Yep Roc. Since his days performing with the Soft Boys in the late '70s, the British-born Nashville-transplant Hitchcock's songs have remained steeped in psychedelic, whimsical, and oftentimes surrealist imagery. For this tour, he's encouraging fans to Facebook in any requests they have, specifying which shows they're attending.

Before taking the stage at Eddie's Attic Nov. 11-12, Hitchcock checked in for a quick chat about his new album, the song "Mad Shelly," and growing up with all the "spoilt kids from the Welfare State."

When you play Atlanta on this tour stop are you performing solo, or will you be accompanied by anyone else? 

The only visible performer will be me during my set; but make sure you come early to catch Tristen & Buddy. Her record is a strong one.

Why make your latest album self-titled? With 21 albums under your belt, did you feel like this one is a return to form of sorts, or a break from your typical working methods? 

Not really ... It's more a distillation of everything I've done, returning one more time to the old template of two electric guitars, bass, and drums with three-part harmonies. It's descended from Buddy Holly, via the Beatles and the Byrds, and Big Star. And the Belbet Underground all the Bs.

One song from the new album that strikes me as foundational is "Mad Shelly's Letterbox." It embodies the spirit of this record in a pretty rockin' way. Can you tell me about what inspired the song, and the imagery you use in the lyrics? 

Ah, Mad Shelley she did nothing with her life; like a flower that grew in a wood, unseen wasted her beauty and her rage all she had to do was inspire these songs. I envy her the lack of effort, but it was probably a struggle for her too. I think of her as an abandoned bride, still breathing amidst the cobwebs, half-spider now. But laughing, always laughing... Waiting for her great big birthday party.

There is an old saying in rock 'n' roll: "If you've taken more than 20 minutes to write a song, you've taken too long." Do you find that to be true? If so, can you give me an example of a song that came out of you fully formed? 

That song did, pretty much. Most of the songs on this record came out fully formed they didn't need much pruning. I don't know where they came from I haven't finished anything since, song-wise.

I recently came across a quote in which you describe your new album as "an ecstatic work of negativity." It reminds me that the first songs I ever heard by you is "If You Were A Priest." I've always honed in on a sort of punk sensibility in that song I've heard DJs spin it seamlessly between songs by the Damned ("New Rose") and the Buzzcocks ("What Do I Get"). I detect a thread of blue, amped-up commonality there. The language, imagery, and arrangements in your songs are more evolved, but it evokes a similar emotional response. How do you see yourself and your songwriting in relation to the punk aesthetic? 

I never shared the contempt for the melody or harmony that seemed at the core of punk. But a lot of the punk anti-aesthetic was probably imposed by Malcolm McLaren and the British music press. The initial "punk" bands just wanted to play the most exciting rock 'n' roll possible. With me in and out of the Soft Boys it was never quite that direct. We'd seen the exotic musical architecture of 1966/7 and we wanted to build something similar, or parallel, at least. Everything I've written from the first Soft Boys EP to my latest record is hatched from that same clutch of 1960s eggs. Does that make sense? But in our sociopathic repressed middle-class way we were probably as angry as the punks. All "spoilt kids from the Welfare State." What a dream!

Robyn Hitchcock plays Eddie's attic Sat., Nov. 11 (9 p.m.) and Sun., Nov. 12 (7:30 p.m.). With Tristen. $25 each night. Eddie's Attic. 515-B North McDonough St. (upstairs) 404-377-4976. www.eddiesattic.com.

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The British-born Nashville transplant ruminates on his self-titled album, punk rock, and all the Bs | more...
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ZALE1THE SCREAM: Hannah Zale in a still from Zale's latest single, "Little Black Dress."Christian Zajicek

The Warner Robins, Georgia five-piece, Zale, turns out head-banging rock ’n’ roll that shines through the electrifying guitar chords and sleek, soulful voice of Hannah Zale.

The group pushes the limits of rock and psychedelic soul, and is ready to unveil its latest single “Little Black Dress,” on Nov. 11. The single is taken from the group’s sophomore album Eye See You, which hits record shops in January, 2018.

While the group is all about enthusiastic and upbeat rhythms, Zale possesses a deep desire for freedom and independence that comes with escaping the relentlessness of everyday life. Reality is too often oppressive — condemning those who are prone to reckless and adventurous behavior. Putting on the black dress signifies the first step in challenging the status quo.

“Every time I would feel an existential crisis coming on, or wanted to quit my life and move to an island, or felt extremely overwhelmed by the experience of being myself, I would slip into a black dress and a wig and become someone else,” Hannah Zale says. “A night of ultimate escape only made possible by my collection of wigs and little black dresses.”

The band was formed in 2015 when frontwoman Zale, guitarist Christian Gerner-Smidt, drummer Alex Morrison, bassist Jackson Reed Hodges, and electric violaist Melissa Loga came together to find the sweet spot between functioning as a humble, yet assertive rock 'n' roll band. The ensemble pushes boundaries by moving away from calming blues and roots music melodies and gravitating toward riff-heavy rock, which shines through in “Little Black Dress.”

“Little Black Dress,” according to the group, is about “getting lost in another version of yourself.” When the stresses of everyday life become too much, the desire to escape one’s self can become a favorable temptation. Through becoming another character a sense of release, power, and exhilaration can be found. Besides, it can be fun to play pretend.

The video features an army of women dressed in black dresses confidently dancing alongside frontwoman Zale. Despite many of the dancers' day jobs being accountants and office managers, once they slip into their black dresses a seductive ego takes over.

The power of femininity is shown not only in the video, but through the behind the scenes work. Zale produced the video herself, with help of Fiona Von Grey of the indie rock sister trio, Von Grey. Grey, 19-years-old, directed and edited the video as her first production outside of creating videos for her own band.

The song facilitates momentary release from the chains of routine by allowing the listener to transform into someone entirely different — a more outgoing, confident person that takes on all their fears. As someone who says sorry one too many times per day, a new, unapologetic person exits the room wearing all black.

Zale’s 2015 debut album Fortress presented a deeply soulful sound. In January Eye See You will take on a new perspective in a blissful combination of both haunting and gritty rock.

With GRECO, Three Star Revival, and Arc & Stones. $12-$15. 7 p.m. Sat., Nov. 11. Vinyl, 1374 W. Peachtree St. N.W. 404-885-1365 www.centerstage-atlanta.com.

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Show Preview

Thursday November 9, 2017 06:57 pm EST
The Warner Robins rock 'n' roll quintet says it's okay to defy reality | more...
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Show Preview

Tuesday November 7, 2017 05:18 pm EST
Jim and William Reid return supporting the group's latest album, 'Damage and Joy' | more...
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The pairing makes sense: Redman's seamless blend of reggae, funk, and hip-hop on classic albums such as EPMD's Business as Usual (1990), his 1992 solo debut, Whut? Thee Album, and early aughts classics such as "Smash Sumthin'" and "Let's Get Dirty" dovetail Face Off's vibe.

For Rasta Root, Redman's influence is foundational. "From the time I was in college, one of the albums that really carried me through was Whut Thee Album?," he says. "I started DJing around the time when I first heard his voice in EPMD. Fast forward 27 years, and having him here is a full-circle kind of thing that encompasses my whole career as a DJ.

Atlanta Seafood Company will be posted up with a food truck, and the first 50 folks through the door get in for $15. Show up early.

 

$20. Doors open at 11 p.m. MJQ Concourse, 736 Ponce de Leon Ave. NE."
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"For the last three years, I've tried to imagine what we could possibly do to top everything else we've done," says Rasta Root. "It was Redman putting him in that Face Off Friday environment."

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  string(1860) " Redman2.5a00a609b1857  2018-03-22T16:05:57+00:00 Redman2.5a00a609b1857.jpg     Hip-hop icon Redman joins DJs Rasta Root and Jah Prince for the Nov. 10 celebration 3863  2017-11-06T23:02:00+00:00 Face Off Fridays turn 12 clint@thenetworkedplanet.com Clint Bergst Chad Radford Chad Radford 2017-11-06T23:02:00+00:00  On Friday, November 10, Face Off Fridays celebrate 12-years of bringing the finest in old school hip-hop, dancehall, reggae, salsa, trap music et. al., every second Friday of the month at MJQ. To mark the occasion, DJs Rasta Root and Jah Prince set the stage for a performance by the almighty Redman for a night of classic hip-hop.

"For the last three years, I've tried to imagine what we could possibly do to top everything else we've done," says Rasta Root. "It was Redman putting him in that Face Off Friday environment."

The pairing makes sense: Redman's seamless blend of reggae, funk, and hip-hop on classic albums such as EPMD's Business as Usual (1990), his 1992 solo debut, Whut? Thee Album, and early aughts classics such as "Smash Sumthin'" and "Let's Get Dirty" dovetail Face Off's vibe.

For Rasta Root, Redman's influence is foundational. "From the time I was in college, one of the albums that really carried me through was Whut Thee Album?," he says. "I started DJing around the time when I first heard his voice in EPMD. Fast forward 27 years, and having him here is a full-circle kind of thing that encompasses my whole career as a DJ.

Atlanta Seafood Company will be posted up with a food truck, and the first 50 folks through the door get in for $15. Show up early.

 

$20. Doors open at 11 p.m. MJQ Concourse, 736 Ponce de Leon Ave. NE.    Photo courtesy Rasta Root. SMASH SUMTHIN: The almighty Redman performs at Face Off Friday Nov. 10.        20981755                           Face Off Fridays turn 12 "
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Monday November 6, 2017 06:02 pm EST
Hip-hop icon Redman joins DJs Rasta Root and Jah Prince for the Nov. 10 celebration | more...
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Show Preview

Thursday November 2, 2017 05:55 pm EDT
The rising Atlanta rapper joins EarthGang on the Never Had Sh!t Tour | more...