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Big Ears, Knoxville, Tenn.'s annual gathering for adventurous music lovers, has announced its initial lineup for the upcoming 2018 festival, and once again, it is something to behold. The festival is known worldwide for being incredibly eclectic, but curators have been including more and more avant-garde jazz over the last few years.The 2018 schedule, however, may have the most jazz-friendly lineup to date. Medeski Martin & Wood will grace the stages of the beautiful Tennessee and Bijou theatres, as well as repeat performer Nels Cline and the Knoxville Jazz Orchestra performing selections from his brilliant album Lovers. Other highlights include the Craig Taborn Quartet, Evan Parker's Electro-Acoustic Ensemble, AACM saxophone legend Roscoe Mitchell, Jason Moran, Rova Saxophone Quartet, percussion great Milford Graves, recent MacArthur fellowship recipient Tyshawn Sorey, and the Thing featuring Swedish free jazz saxophone player Mats Gustafsson.

Algiers and Duet For Theremin and Lap Steel have also been added to the lineup, adding some Atlanta flare to the weekend.

As the festival is usually beaming with once-in-a-lifetime collaborations, many of these unique musicians tend to play various sets, mixing and matching players and genres.

This is only a preliminary lineup, but some of the other acts, including a rare U.S. performance from Diamanda Galas, already look to be spectacular. Anoushka Shankar, Arto Lindsay, Lucius, Jenny Scheinman, Bela Fleck, Four Tet, Gas, Godspeed You! Black Emperor are also on the schedule, but stay tuned for more additions as it gets closer to festival time. View the rest of the lineup so far.

Big Ears Festival takes place in Knoxville, Tenn. at various venues from March 22-25, 2018. Tickets go on sale on Friday Nov. 3."
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  string(2401) "{HTML()}Diamanda Second Final Austin YoungDiamanda Galas plays Big Ears March 22-25, 2018.Austin Young
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  string(2095) "    Diamanda Galas, Medeski Martin & Wood, and many avant-garde jazz acts brighten the schedule for coming year's festival   2017-11-01T19:45:00+00:00 Big Ears announces 2018 lineup   Omar Khalid  2017-11-01T19:45:00+00:00  

Big Ears, Knoxville, Tenn.'s annual gathering for adventurous music lovers, has announced its initial lineup for the upcoming 2018 festival, and once again, it is something to behold. The festival is known worldwide for being incredibly eclectic, but curators have been including more and more avant-garde jazz over the last few years.The 2018 schedule, however, may have the most jazz-friendly lineup to date. Medeski Martin & Wood will grace the stages of the beautiful Tennessee and Bijou theatres, as well as repeat performer Nels Cline and the Knoxville Jazz Orchestra performing selections from his brilliant album Lovers. Other highlights include the Craig Taborn Quartet, Evan Parker's Electro-Acoustic Ensemble, AACM saxophone legend Roscoe Mitchell, Jason Moran, Rova Saxophone Quartet, percussion great Milford Graves, recent MacArthur fellowship recipient Tyshawn Sorey, and the Thing featuring Swedish free jazz saxophone player Mats Gustafsson.

Algiers and Duet For Theremin and Lap Steel have also been added to the lineup, adding some Atlanta flare to the weekend.

As the festival is usually beaming with once-in-a-lifetime collaborations, many of these unique musicians tend to play various sets, mixing and matching players and genres.

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Big Ears Festival takes place in Knoxville, Tenn. at various venues from March 22-25, 2018. Tickets go on sale on Friday Nov. 3.             20981243                           Big Ears announces 2018 lineup "
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Show Preview

Wednesday November 1, 2017 03:45 pm EDT
Diamanda Galas, Medeski Martin & Wood, and many avant-garde jazz acts brighten the schedule for coming year's festival | more...
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  string(857) "The Southeast's most twisted metal festival takes place this Friday and Saturday nights at the Loft.

The inaugural Mass Destruction Metal Festival 2017 puts extreme metal on blast as a lineup featuring performances by death and black metal bands Profanatica, Acheron, Tombstalker, Brutality, Abazagorath, Emablmer, and more satiates the bloodlust for those who seek faster, more violent, and aggressive shredding, blast beats, and heresy that moves at break-neck speeds.


Macabre headlines Fri., Nov. 3. Demoncy headlines Sat., Nov. 4. Bring ear plugs, slather on the corpse paint, and say your prayers to the old gods of darkness and ear-splitting decibels.

Mass Destruction Metal Festival 2017. $75-$85 (two-day tickets). $45-$50 (single day tickets). 5 p.m. (doors) each night. 1374 West Peachtree St. 404-885-1365. www.centerstage-atlanta.com."
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  string(1449) "{HTML()}DemoncyDemoncyAlix Vallecillo - LVTHN SGHT{HTML}The Southeast's most twisted metal festival takes place this Friday and Saturday nights at the Loft.

The inaugural [http://massdestructionmetalfest.com/|Mass Destruction Metal Festival 2017] puts extreme metal on blast as a lineup featuring performances by death and black metal bands Profanatica, Acheron, Tombstalker, Brutality, Abazagorath, Emablmer, and more satiates the bloodlust for those who seek faster, more violent, and aggressive shredding, blast beats, and heresy that moves at break-neck speeds.


[http://www.murdermetal.com/|Macabre] headlines Fri., __Nov. 3__. [https://www.facebook.com/Demoncy-154576947948989/|Demoncy] headlines Sat., __Nov. 4__. Bring ear plugs, slather on the corpse paint, and say your prayers to the old gods of darkness and ear-splitting decibels.

''[http://massdestructionmetalfest.com/|Mass Destruction Metal Festival 2017. $75-$85 (two-day tickets). $45-$50 (single day tickets). 5 p.m. (doors) each night. 1374 West Peachtree St. 404-885-1365. www.centerstage-atlanta.com.]''"
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  string(1281) "    Macabre, Demoncy, Profanatica, and more lay waste to Midtown this weekend   2017-11-01T19:16:00+00:00 Mass Destruction Metal Fest takes over the Loft Nov. 3-4 clint@thenetworkedplanet.com Clint Bergst Spencer Korchan  2017-11-01T19:16:00+00:00  The Southeast's most twisted metal festival takes place this Friday and Saturday nights at the Loft.

The inaugural Mass Destruction Metal Festival 2017 puts extreme metal on blast as a lineup featuring performances by death and black metal bands Profanatica, Acheron, Tombstalker, Brutality, Abazagorath, Emablmer, and more satiates the bloodlust for those who seek faster, more violent, and aggressive shredding, blast beats, and heresy that moves at break-neck speeds.


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Mass Destruction Metal Festival 2017. $75-$85 (two-day tickets). $45-$50 (single day tickets). 5 p.m. (doors) each night. 1374 West Peachtree St. 404-885-1365. www.centerstage-atlanta.com.             20981236         http://dev.creativeloafing.com/image/2017/11/Demoncy.59f9e759c89d3.png                  Mass Destruction Metal Fest takes over the Loft Nov. 3-4 "
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Wednesday November 1, 2017 03:16 pm EDT
Macabre, Demoncy, Profanatica, and more lay waste to Midtown this weekend | more...
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With Corner Boy P, T.Y., MadeGroceries, Neno Calvin, and Great White Stylez. $26.50. 7 p.m. (doors). Thurs., Nov. 2. Masquerade. 75 Martin Luther King Jr. Drive SW. 404-577-8178. www.masq.com.


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''[https://local.creativeloafing.com/event-148652-CURREN$Y--The-Pilot-Talk-Trilogy-Tour|With Corner Boy P, T.Y., MadeGroceries, Neno Calvin, and Great White Stylez. $26.50. 7 p.m. (doors). Thurs., Nov. 2. Masquerade. 75 Martin Luther King Jr. Drive SW. 404-577-8178. ]''[http://www.masq.com.|www.masq.com.]


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With Corner Boy P, T.Y., MadeGroceries, Neno Calvin, and Great White Stylez. $26.50. 7 p.m. (doors). Thurs., Nov. 2. Masquerade. 75 Martin Luther King Jr. Drive SW. 404-577-8178. www.masq.com.


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Show Preview

Tuesday October 31, 2017 07:08 pm EDT
New Orleans' king of gutter Southern hip-hop returns | more...

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Show Preview

Friday October 27, 2017 11:41 pm EDT
Indian tabla master teams up with American jazz greats Dave Holland, Chris Potter, and more | more...
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A founding member of the Gold Sparkle Band, the vaunted avant-garde jazz outfit spawned in early '90s Atlanta, New York-based saxophonist Waters returns to the scene of past endeavors to present two new compositions. "Peace Forms I' (alto sax, baritone sax, trumpet) and "Peace Forms II' (for horn sextet and percussion) were developed during a 30-day collaboration between visual and digital artists (with Waters the sole musician), the purpose of which was to explore the question of what form does peace take? Influenced in part by a longstanding dialogue with poet Yuko Otomo, Waters asserts that "art can bring peace, especially micro-locally, for example, within a concert hall."

Charles Waters' Nuzion Peace Orchestra features Charles Waters (alto saxophone), Roger Ruzow (cornet), Bill Nittler (baritone sax), Eric Fontaine (tenor sax), Jason Casanova (euphonium), Bill Pritchard (tuba), and Noah Kess (drums).

$10 (suggested donation). 8:30 p.m. Gallery 992, 992 Ralph David Abernathy Boulevard.



     Courtesy Charles Waters Founding Gold Sparkle Band saxophonist Charles Waters leads the Nuzion Peace Orchestra through two new free jazz excursions Sunday at Gallery 992.        20980849         http://dev.creativeloafing.com/image/2017/10/Charles_Waters.59f37c3a85e56.png                  Charles Waters' Nuzion Peace Orchestra plays Gallery 992 Oct. 29 "
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Show Preview

Friday October 27, 2017 06:34 pm EDT
Gold Sparkle Band leader premieres two new works, 'Peace Forms I & II' | more...
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  string(1477) "When an artist remains anonymous they can do pretty much whatever they want to do anything! It forces both the artist and the audience to shift their imaginations into overdrive and fill in the blanks. Anonymity makes it difficult for anyone to make ignorant or informed assumptions about the music and the someone or something who made it. It's the power of mystery, and a powerful tool for the John/Jane Doe outfit known as Meinschaft. Who they are and where they come from isn't important.



The arrival of Meinschaft's video for "The Midday Sun At Midnight" captures the zeitgeist in a slow and swirling montage of exaggerated scenarios, hyperstimulation, clutter and colors galore. The video was directed by New York-based Alabama expat Haoyan of America, conjures a bit of alchemy in its vision of Meinschaft's survey of a Western civilization that's drowning in its own leisure class detritus and primal instincts. It's a brand of electronic music the group has dubbed "Nu World,' illustrating a fascination with the absurdity of how human minds and social interactions interphase with free range information overload.

The song appears on Meinschaft's first and only full-length, a cassette tape, title To the Victim Belong the Spoils, released today (Oct. 27) via Tymbal Tapes in the United States, and in Europe via Skrot Up.

Meinschaft plays JJ's Bohemia in Chattanooga Sat., Oct. 28, with Lacing, the Handsome Grandsons, and Shaky's Bad Knee. $10. 8 p.m."
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The Midday Sun At Midnight Teaser from Haoyan of America on Vimeo.

{HTML} The arrival of Meinschaft's video for "The Midday Sun At Midnight" captures the zeitgeist in a slow and swirling montage of exaggerated scenarios, hyperstimulation, clutter and colors galore. The video was directed by New York-based Alabama expat [http://haoyanofamerica.com/|Haoyan of America], conjures a bit of alchemy in its vision of Meinschaft's survey of a Western civilization that's drowning in its own leisure class detritus and primal instincts. It's a brand of electronic music the group has dubbed "Nu World,' illustrating a fascination with the absurdity of how human minds and social interactions interphase with free range information overload. The song appears on Meinschaft's first and only full-length, a cassette tape, title ''To the Victim Belong the Spoils'', released today (Oct. 27) via [https://tymbaltapes.bandcamp.com/album/to-the-victim-belong-the-spoils|Tymbal Tapes] in the United States, and in Europe via [https://skrotup.bandcamp.com/album/to-the-victim-belong-the-spoils|Skrot Up]. [https://www.facebook.com/events/142482986374596/?active_tab=about|''Meinschaft plays JJ's Bohemia in Chattanooga Sat., Oct. 28, with Lacing, the Handsome Grandsons, and Shaky's Bad Knee. $10. 8 p.m.'']" ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2018-02-12T23:05:42+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2018-05-23T19:36:27+00:00" ["tracker_field_photos"]=> string(4) "5882" ["tracker_field_contentPhotoCredit"]=> string(26) "Courtesy Haoyan of America" ["tracker_field_contentPhotoTitle"]=> string(75) "NU WORLD ORDER: A still from Meinschaft’s “The Midday Sun At Midnight."" 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It forces both the artist and the audience to shift their imaginations into overdrive and fill in the blanks. Anonymity makes it difficult for anyone to make ignorant or informed assumptions about the music and the someone or something who made it. It's the power of mystery, and a powerful tool for the John/Jane Doe outfit known as Meinschaft. Who they are and where they come from isn't important. The arrival of Meinschaft's video for "The Midday Sun At Midnight" captures the zeitgeist in a slow and swirling montage of exaggerated scenarios, hyperstimulation, clutter and colors galore. The video was directed by New York-based Alabama expat Haoyan of America, conjures a bit of alchemy in its vision of Meinschaft's survey of a Western civilization that's drowning in its own leisure class detritus and primal instincts. 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Meinschaft plays JJ's Bohemia in Chattanooga Sat., Oct. 28, with Lacing, the Handsome Grandsons, and Shaky's Bad Knee. $10. 8 p.m. Courtesy Haoyan of America NU WORLD ORDER: A still from Meinschaft’s “The Midday Sun At Midnight." 20980832 Meinschaft unveils 'The Midday Sun At Midnight' video " ["score"]=> float(0) ["_index"]=> string(21) "atlantawiki_tiki_main" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(131) "Meinschaft " ["desc"]=> string(70) "Anonymous outfit revels in the aesthetics of hyperstimulation" ["category"]=> string(12) "Show Preview" }

Show Preview

Friday October 27, 2017 04:36 pm EDT
Anonymous outfit revels in the aesthetics of hyperstimulation | more...
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  ["title"]=>
  string(25) "A Q&A with Lois Righteous"
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  string(58) "Garage punk trio channels riot grrrl spirit with 'Rude' EP"
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  string(58) "Garage punk trio channels riot grrrl spirit with 'Rude' EP"
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  string(4501) "In the summer of 2016, Lois Righteous began as a drum taped to a trash can and an inside joke. Since then, vocalist and drummer Beth Cunningham, bass player Whitney Hansen, and singer/guitar player Lisa Highfill have garnered national attention, following a February appearance on WABE's "City Lights,' hosted by namesake, Lois Reitzes.

In just over a year's time, the trio has fostered a fast-paced, lo-fi garage-punk charge forged of noise and political agitation: Lois Righteous has the patriarchy in its crosshairs. With their most recent single, "Kill Your Masters," the group's members take a stand against the systemic oppression of women and other marginalized people in America a message that defines the group's very existence.

On Fri., Nov. 3, Lois Righteous' debut cassette tape, titled the Rude EP, arrives with a release party at 529. Before the show, Cunningham, Hanson, and Highfil took a few minutes for a candid conversation about all things righteous.

Who is Lois Righteous?

Beth Cunningham: Lois Righteous is someone who says what you want to say when you are nervous to say it. Lois relates to all people and shows it's okay to speak up.

Lisa Highfill: Lois Righteous is your friend who tells every creep to fuck all the way off. At the end of the day, we want to inspire girls/women to start bands and share their experiences.

Whitney Hansen: Lois Righteous is here to participate in the bomb-as-fuck growing movement of dismantling systemic oppression.

What motivated you to start a band? Were you nervous when you started?

BC: Honestly, we just wanted a reason to hang out more.

LH: We didn't have any anxieties starting up, because it was just the three of us and didn't have plans to play shows. Then Lois Reitzes (our Spirit Mom) invited us to play on NPR, so we figured we had to give it a shot. We still bring Pepto-Bismol to every show.

Why do you think women begin their music endeavors later in life compared to men?

LH: I think it comes down to not seeing enough women doing the damn thing. There still aren't nearly as many female-identifying bands in Atlanta as there are male. When you see that as a young woman, it sends a pretty clear signal.

WH: Our goal is to be an example for female-identifying and marginalized individuals who want to create and play music.

BC: I didn't feel comfortable playing in front of people for a long time, and in a way still feel that. However, I know it's important to get out and ruffle some feathers to get a point across.

Do you identify with the riot grrrls in the '90s? Do you think that ethos is relevant today?

WH: Our general vibe aligns with the energy of the riot grrrl movement, but our sound has evolved from that. We draw inspiration from folks that showed us we could find our power through uniting, supporting each other, creating music together.

LH: Women are being silenced, discounted, sexualized, controlled. It's in our faces more because we're immersed in social media and the news anxiety-inducing and extremely illuminating. There are so many shared experiences of harassment, not being paid fairly, not feeling safe walking alone. You can't talk about the riot grrrl movement without calling out that it failed a lot of people who needed it. But there's a resurgence of a sisterhood that feels really tight; it's that revolutionary soul force. It's powerful, and it's going to get us where we need to be.

How will we ever dismantle the patriarchy?

WH: We can't have a national conversation without addressing all forms of systemic and societal oppression. The conversation has to be intersectional. For Atlanta specifically, this is an important time to be vigilant and aware of the possibilities of what we can do with the right people supporting our city. Support and advocate a platform for candidates who need to be heard now.

LH: It's simple, really. Just kidding, it's not. I think starting a band and singing about clits and stuff is a step in the right direction. But we know taking down the patriarchy isn't just about women reclaiming and using their power. If we fight for one but not the other, the outcome is just another form of oppression. We need to vote for people we know are going to fight for more marginalized voices to be heard.

Lois Righteous plays an EP release show Fri., Nov. 3. With Lingua Franca, Nihilist Cheerleader, MonteQarlo, and DJ Kale Svvick. $7. 529. 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com."
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  string(5302) "In the summer of 2016, [http://loisrighteous.bandcamp.com/|Lois Righteous] began as a drum taped to a trash can and an inside joke. Since then, vocalist and drummer Beth Cunningham, bass player Whitney Hansen, and singer/guitar player Lisa Highfill have garnered national attention, following a February [https://www.wabe.org/atlanta-band-lois-righteous-meets-lois-reitzes/|appearance] on WABE's "City Lights,' hosted by namesake, Lois Reitzes.

In just over a year's time, the trio has fostered a fast-paced, lo-fi garage-punk charge forged of noise and political agitation: Lois Righteous has the patriarchy in its crosshairs. With their most recent single, [http://www.creativeloafing.com/music/article/20978583/new-music-monday-3-fresh-cuts-from-atlantas-finest-upandcomers|"Kill Your Masters,"] the group's members take a stand against the systemic oppression of women and other marginalized people in America a message that defines the group's very existence.

On Fri., __Nov. 3__, Lois Righteous' debut cassette tape, titled the ''Rude'' EP, arrives with a release party at 529. Before the show, Cunningham, Hanson, and Highfil took a few minutes for a candid conversation about all things righteous.

__Who is Lois Righteous?__

__Beth Cunningham__: Lois Righteous is someone who says what you want to say when you are nervous to say it. Lois [relates] to all people and shows it's okay to speak up.

__Lisa Highfill__: Lois Righteous is your friend who tells every creep to fuck all the way off. At the end of the day, we want to inspire girls/women to start bands and share their experiences.

__Whitney Hansen__: Lois Righteous is here to participate in the bomb-as-fuck growing movement of dismantling systemic oppression.

__What motivated you to start a band? Were you nervous when you started?__

__BC__: Honestly, we just wanted a reason to hang out more.

__LH__: We didn't have any anxieties starting up, because it was just the three of us and didn't have plans to play shows. Then Lois Reitzes (our Spirit Mom) invited us to play on [NPR], so we figured we had to give it a shot. We still bring Pepto-Bismol to every show.

__Why do you think women begin their music endeavors later in life compared to men?__

__LH__: I think it comes down to not seeing enough women doing the damn thing. There still aren't nearly as many female-identifying bands in Atlanta as there are male. When you see that as a young woman, it sends a pretty clear signal.

__WH__: Our goal is to be an example for female-identifying and marginalized individuals who want to create and play music.

__BC__: I didn't feel comfortable playing in front of people for a long time, and in a way still feel that. However, I know it's important to get out and ruffle some feathers to get a point across.

__Do you identify with the riot grrrls in the '90s? Do you think that ethos is relevant today?__

__WH__: [Our] general vibe aligns with the energy of the riot grrrl movement, but our sound has evolved from that. We draw inspiration from folks that showed us we could find our power through uniting, supporting each other, creating music together.

__LH__: Women are being silenced, discounted, sexualized, controlled. It's in our faces more because we're immersed in social media and the news anxiety-inducing and extremely illuminating. There are so many shared experiences of harassment, not being paid fairly, not feeling safe walking alone. You can't talk about the riot grrrl movement without calling out that it failed a lot of people who needed it. But there's a resurgence of a sisterhood that feels really tight; it's that revolutionary soul force. It's powerful, and it's going to get us where we need to be.

__How will we ever dismantle the patriarchy?__

__WH__: We can't have a national conversation without addressing all forms of systemic and societal oppression. The conversation has to be intersectional. For Atlanta specifically, this is an important time to be vigilant and aware of the possibilities of what we can do with the right people supporting our city. Support and advocate a platform for candidates who need to be heard now.

__LH__: It's simple, really. Just kidding, it's not. I think starting a band and singing about clits and stuff is a step in the right direction. But we know taking down the patriarchy isn't just about women reclaiming and using their power. If we fight for one but not the other, the outcome is just another form of oppression. We need to vote for people we know are going to fight for more marginalized voices to be heard.

''[https://local.creativeloafing.com/event-158556-Lois-Righteous-plays-an-EP-release-show-w/-Lingua-Franca,-Nihilist-Cheerleader,-MonteQarlo,-and-DJ-Kale-Svvick|Lois Righteous plays an EP release show Fri., Nov. 3. With Lingua Franca, Nihilist Cheerleader, MonteQarlo, and DJ Kale Svvick. $7. 529. 529 Flat Shoals Ave. S.E. ]''''[https://local.creativeloafing.com/event-158556-Lois-Righteous-plays-an-EP-release-show-w/-Lingua-Franca,-Nihilist-Cheerleader,-MonteQarlo,-and-DJ-Kale-Svvick|404-228-6769. ]''''[https://local.creativeloafing.com/event-158556-Lois-Righteous-plays-an-EP-release-show-w/-Lingua-Franca,-Nihilist-Cheerleader,-MonteQarlo,-and-DJ-Kale-Svvick|www.529atlanta.com.]''"
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In just over a year's time, the trio has fostered a fast-paced, lo-fi garage-punk charge forged of noise and political agitation: Lois Righteous has the patriarchy in its crosshairs. With their most recent single, "Kill Your Masters," the group's members take a stand against the systemic oppression of women and other marginalized people in America a message that defines the group's very existence.

On Fri., Nov. 3, Lois Righteous' debut cassette tape, titled the Rude EP, arrives with a release party at 529. Before the show, Cunningham, Hanson, and Highfil took a few minutes for a candid conversation about all things righteous.

Who is Lois Righteous?

Beth Cunningham: Lois Righteous is someone who says what you want to say when you are nervous to say it. Lois relates to all people and shows it's okay to speak up.

Lisa Highfill: Lois Righteous is your friend who tells every creep to fuck all the way off. At the end of the day, we want to inspire girls/women to start bands and share their experiences.

Whitney Hansen: Lois Righteous is here to participate in the bomb-as-fuck growing movement of dismantling systemic oppression.

What motivated you to start a band? Were you nervous when you started?

BC: Honestly, we just wanted a reason to hang out more.

LH: We didn't have any anxieties starting up, because it was just the three of us and didn't have plans to play shows. Then Lois Reitzes (our Spirit Mom) invited us to play on NPR, so we figured we had to give it a shot. We still bring Pepto-Bismol to every show.

Why do you think women begin their music endeavors later in life compared to men?

LH: I think it comes down to not seeing enough women doing the damn thing. There still aren't nearly as many female-identifying bands in Atlanta as there are male. When you see that as a young woman, it sends a pretty clear signal.

WH: Our goal is to be an example for female-identifying and marginalized individuals who want to create and play music.

BC: I didn't feel comfortable playing in front of people for a long time, and in a way still feel that. However, I know it's important to get out and ruffle some feathers to get a point across.

Do you identify with the riot grrrls in the '90s? Do you think that ethos is relevant today?

WH: Our general vibe aligns with the energy of the riot grrrl movement, but our sound has evolved from that. We draw inspiration from folks that showed us we could find our power through uniting, supporting each other, creating music together.

LH: Women are being silenced, discounted, sexualized, controlled. It's in our faces more because we're immersed in social media and the news anxiety-inducing and extremely illuminating. There are so many shared experiences of harassment, not being paid fairly, not feeling safe walking alone. You can't talk about the riot grrrl movement without calling out that it failed a lot of people who needed it. But there's a resurgence of a sisterhood that feels really tight; it's that revolutionary soul force. It's powerful, and it's going to get us where we need to be.

How will we ever dismantle the patriarchy?

WH: We can't have a national conversation without addressing all forms of systemic and societal oppression. The conversation has to be intersectional. For Atlanta specifically, this is an important time to be vigilant and aware of the possibilities of what we can do with the right people supporting our city. Support and advocate a platform for candidates who need to be heard now.

LH: It's simple, really. Just kidding, it's not. I think starting a band and singing about clits and stuff is a step in the right direction. But we know taking down the patriarchy isn't just about women reclaiming and using their power. If we fight for one but not the other, the outcome is just another form of oppression. We need to vote for people we know are going to fight for more marginalized voices to be heard.

Lois Righteous plays an EP release show Fri., Nov. 3. With Lingua Franca, Nihilist Cheerleader, MonteQarlo, and DJ Kale Svvick. $7. 529. 529 Flat Shoals Ave. S.E. 404-228-6769. www.529atlanta.com.             20980757         http://dev.creativeloafing.com/image/2017/10/Lois_Righteous.59f77f81a230b.png                  A Q&A with Lois Righteous "
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Friday October 27, 2017 02:02 am EDT
Garage punk trio channels riot grrrl spirit with 'Rude' EP | more...
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Thursday October 26, 2017 08:52 pm EDT
The Italian horror film score masters return performing the music of 'Susperia' and beyond | more...
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$30-$110. 8 p.m. Thurs., Nov. 2. Tabernacle. 152 Luckie St. NW. 404-659-9022. www.tabernacleatl.com. 

     Tim Saccenti FlyLo plays the Tabernacle Nov. 2.        20980693         http://dev.creativeloafing.com/image/2017/10/flylo_photo.59f221ce1bec8.png                  Flying Lotus plays the Tabernacle Nov. 2 "
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Thursday October 26, 2017 05:54 pm EDT
The formidable electronic music renaissance man goes 3D | more...
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Thursday October 26, 2017 04:26 pm EDT
The Memphis underground rap legend pays a visit to Atlanta | more...
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Wednesday October 25, 2017 02:49 pm EDT
The garage-psych trio stops by Atlanta supporting its self-titled debut | more...
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Tuesday October 24, 2017 03:04 pm EDT
With 'Relatives in Descent' the Detroit-based outfit perfects a blend of post-punk poetry and wild-eyed experimentation | more...

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Friday October 20, 2017 09:54 pm EDT
Chamber-jazz trio featuring members of Faun and A Pan Flute and 4th Ward AKO shows off material from new album | more...
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With theMIND. $22-$26. 7 p.m. Mon., Oct. 30. Variety Playhouse, 1099 Euclid Ave. NE. 404-524-7354. www.variety-playhouse.com.    David Uzochukwu Ibeyi        20979866         http://dev.creativeloafing.com/image/2017/10/Ibeyi.59e8b9151ddad.png                  Ibeyi play Variety Playhouse Oct. 30 "
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Thursday October 19, 2017 02:36 pm EDT
Lisa-Kaindé Díaz and Naomi Díaz honor artfully honor their past, present, and future with their latest album, 'Ash' | more...
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Tuesday October 17, 2017 11:45 pm EDT
The psychedelic pied piper plays classics along with songs from the group's latest album, 'Life In Space' | more...
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  string(1769) " Adi Newton  2018-05-23T14:40:53+00:00 Adi Newton.png     The industrial music pioneer stirs up the atmosphere with electronics, noise, and a baritone growl 5840  2017-10-18T02:04:00+00:00 Adi Newton of Clock DVA plays the Mammal Gallery Oct. 18 clint@thenetworkedplanet.com Clint Bergst Chad Radford Chad Radford 2017-10-18T02:04:00+00:00  For nearly 40 years, Adi Newton has stalked the outer reaches of electronic and industrial music's frontier. As a founding member of Sheffield U.K.'s Clock DVA and T.A.G.C./the Anti-Group, exploring technology's evolution, its relationship with music, and how it interfaces with the human psyche has underscored much of his work.

Newton's approach came into being amid the British music scene that birthed early industrial music provocateurs Cabaret Voltaire and Throbbing Gristle. Through cassettes and LPs with titles such as White Souls in Black Suits, Sex Works Beyond Entanglement, and Buried Dreams, Newton stalks post-punk and the avant-garde arts, stirring up brooding dance floor atmospheres with tape noise, electronics, and a gravely baritone growl.

With the Anti-Group, he pursues a more open-ended survey of everything from free jazz to electronic noise and how the subtleties of sound are perceived. For this TAG performance, Newton plumbs the depths of his rich psychoacoustic sound and vision.

Mykel Boyd, Merriam-Webster, and Trashcan also perform. $10. 8 p.m. The Mammal Gallery, 91 Broad St. S.W. www.mammalgallery.com.

    Gabriel Edvy SOUND MIRROR: Adi Newton of Clock DVA and TAGC/the Anti-Group.        20979647         http://dev.creativeloafing.com/image/2017/10/Clock_DVA_Adi_Newton_The_Anti_Group.59e686c8aadff.png                  Adi Newton of Clock DVA plays the Mammal Gallery Oct. 18 "
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Tuesday October 17, 2017 10:04 pm EDT
The industrial music pioneer stirs up the atmosphere with electronics, noise, and a baritone growl | more...
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Despite a year filled with taking pot shots from hip-hop's old heads saying he's "ruining hip-hop" (sit down, Joe Budden), and releasing a debut album (Teenage Emotions) met with a lukewarm reception, the King of Teens is still comfortably nestled on this throne. The jokingly self-proclaimed purveyor of "bubblegum trap" is bringing the Teenage Tour to his home turf.

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Tuesday October 17, 2017 12:52 pm EDT
The self-proclaimed purveyor of 'bubblegum trap' has become a fixture of Atlanta culture | more...
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  string(3667) "The Pharoah Sanders Quartet featuring bass player Nat Reeves, drummer Joe Farnsworth, and pianist William Henderson play the Rialto Center for the Arts on Sat., Oct. 14. Pianist Henderson boasts a lifelong resume of performing alongside legendary jazz luminaries such as Elvin Jones, Cannonball Adderley, Hugh Masekela, and more. Before the Quartet's show in Atlanta, Henderson took a few minutes to talk about his time performing with Sanders, and what's in store when the band takes the stage.

How did you get started playing music with Pharoah Sanders?

I started playing with him many years ago, but I can't begin to tell you what year it was. It might have been '68, but I really cannot remember. Pharoah had been using a piano player who was also working with Hugh Masekela, but then he ran off with some lady. I knew a bass player that was a friend of Pharoah's, and that got me started working with him. And I worked with Hugh Masekela off and on, too. I got to play on his first and his only gold record, "Grazing in the Grass." And I guess people are still playing it. It's the song that starts off with the cowbell. You know the song? Everybody likes that cowbell.



People do love a good cowbell. 

I think that's kind of what sold that song. The producer brought it up after we'd already played everything. He wanted to put the cowbell in there so he did. It's called "Grazing in the Grass,' so it made sense.

Do you play a pretty comprehensive set of Pharoah Sanders' material, or does the quartet focus on a specific era of his music?

No, we aren't focusing on a specific area, but we are using a new drummer for the first time in Atlanta. What we play is always up to Pharoah and what he wants to do, what he thinks the people will like, and where we are working. We haven't played in Atlanta in a year or two, so it could go any way.

Do you play a different set every night?

Somewhat different, but not totally different. We may repeat one or two things. He'll have something he'll replay at the end, and he'll always do "The Creator has a Master Plan.' And sometimes we do John Coltrane's "Welcome.' It all depends on how much time we have to play.


How much of a role does improvisation play in your performance?

I would say that most of it is improvisation. Some of the songs might be written, but there is some improvisation going on within just about every single song that you'll hear. Pharoah might play a melody, or I might I might play a melody and then there will be some improvisation in the middle somewhere.




Are you a Sun Ra fan?

No, I can't really say that I am. I don't ever listen to much of his playing or what he's written. I know a couple of the musicians he's used in his band over the years, but I can't say that I'm familiar with his music. But Sun Ra is who Pharoah started playing with when he first moved to New York. Sun Ra really helped get him on track when he was a young man. But Sun Ra was talking a lot about outer space, spaceships, but it never drew me in.

You mentioned "The Creator Has A Master Plan.' Do you learn anything different about that song or does it change for you the more you play it?

I do play it differently; I don't play it the same. I change the bottom. I don't change the overall sound of the song. I always enjoy playing, and I don't just got a certain bass line; I don't continue to play the bass line. I change it up, and you can add a lot of things on the top, too.

The Pharoah Sanders Quartet plays the Rialto Center for the Arts. $56. 8 p.m. Sat., Oct. 14. Rialto Center for the Arts, 80 Forsyth St. NW. 404-413-9849. www.rialto.gsu.edu."
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__How did you get started playing music with Pharoah Sanders?__

I started playing with him many years ago, but I can't begin to tell you what year it was. It might have been '68, but I really cannot remember. Pharoah had been using a piano player who was also working with Hugh Masekela, but then he ran off with some lady. I knew a bass player that was a friend of Pharoah's, and that got me started working with him. And I worked with Hugh Masekela off and on, too. I got to play on his first and his only gold record, [https://www.youtube.com/watch?v=UKcGCObEb28|"Grazing in the Grass.]" And I guess people are still playing it. It's the song that starts off with the cowbell. You know the song? Everybody likes that cowbell.

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__People do love a good cowbell. __

I think that's kind of what sold that song. The producer brought it up after we'd already played everything. He wanted to put the cowbell in there so he did. It's called "Grazing in the Grass,' so it made sense.

__Do you play a pretty comprehensive set of Pharoah Sanders' material, or does the quartet focus on a specific era of his music?__

No, we aren't focusing on a specific area, but we are using a new drummer for the first time in Atlanta. What we play is always up to Pharoah and what he wants to do, what he thinks the people will like, and where we are working. We haven't played in Atlanta in a year or two, so it could go any way.

__Do you play a different set every night?__

Somewhat different, but not totally different. We may repeat one or two things. He'll have something he'll replay at the end, and he'll always do "The Creator has a Master Plan.' And sometimes we do John Coltrane's "Welcome.' It all depends on how much time we have to play.


__How much of a role does improvisation play in your performance?__

I would say that most of it is improvisation. Some of the songs might be written, but there is some improvisation going on within just about every single song that you'll hear. Pharoah might play a melody, or I might I might play a melody and then there will be some improvisation in the middle somewhere.


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{HTML} __Are you a Sun Ra fan?__ No, I can't really say that I am. I don't ever listen to much of his playing or what he's written. I know a couple of the musicians he's used in his band over the years, but I can't say that I'm familiar with his music. But Sun Ra is who Pharoah started playing with when he first moved to New York. Sun Ra really helped get him on track when he was a young man. But Sun Ra was talking a lot about outer space, spaceships, but it never drew me in. __You mentioned "The Creator Has A Master Plan.' Do you learn anything different about that song or does it change for you the more you play it?__ I do play it differently; I don't play it the same. I change the bottom. I don't change the overall sound of the song. I always enjoy playing, and I don't just got a certain bass line; I don't continue to play the bass line. I change it up, and you can add a lot of things on the top, too. ''[https://local.creativeloafing.com/event-139027-Pharoah-Sanders-Quartet|The Pharoah Sanders Quartet plays the Rialto Center for the Arts. $56. 8 p.m. Sat., Oct. 14. Rialto Center for the Arts, 80 Forsyth St. NW. 404-413-9849. www.rialto.gsu.edu.]''" ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2018-02-02T16:39:24+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2018-05-22T23:31:45+00:00" ["tracker_field_photos"]=> string(4) "5815" ["tracker_field_contentPhotoCredit"]=> string(26) "Courtesy William Henderson" ["tracker_field_contentPhotoTitle"]=> string(70) "MORE COWBELL: The Pharoah Sanders Quartet's pianist William Henderson." 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Pianist Henderson boasts a lifelong resume of performing alongside legendary jazz luminaries such as Elvin Jones, Cannonball Adderley, Hugh Masekela, and more. Before the Quartet's show in Atlanta, Henderson took a few minutes to talk about his time performing with Sanders, and what's in store when the band takes the stage. How did you get started playing music with Pharoah Sanders? I started playing with him many years ago, but I can't begin to tell you what year it was. It might have been '68, but I really cannot remember. Pharoah had been using a piano player who was also working with Hugh Masekela, but then he ran off with some lady. I knew a bass player that was a friend of Pharoah's, and that got me started working with him. And I worked with Hugh Masekela off and on, too. I got to play on his first and his only gold record, "Grazing in the Grass." And I guess people are still playing it. It's the song that starts off with the cowbell. You know the song? Everybody likes that cowbell. People do love a good cowbell. I think that's kind of what sold that song. The producer brought it up after we'd already played everything. He wanted to put the cowbell in there so he did. It's called "Grazing in the Grass,' so it made sense. Do you play a pretty comprehensive set of Pharoah Sanders' material, or does the quartet focus on a specific era of his music? No, we aren't focusing on a specific area, but we are using a new drummer for the first time in Atlanta. What we play is always up to Pharoah and what he wants to do, what he thinks the people will like, and where we are working. We haven't played in Atlanta in a year or two, so it could go any way. Do you play a different set every night? Somewhat different, but not totally different. We may repeat one or two things. He'll have something he'll replay at the end, and he'll always do "The Creator has a Master Plan.' And sometimes we do John Coltrane's "Welcome.' It all depends on how much time we have to play. How much of a role does improvisation play in your performance? I would say that most of it is improvisation. Some of the songs might be written, but there is some improvisation going on within just about every single song that you'll hear. Pharoah might play a melody, or I might I might play a melody and then there will be some improvisation in the middle somewhere. Are you a Sun Ra fan? No, I can't really say that I am. I don't ever listen to much of his playing or what he's written. I know a couple of the musicians he's used in his band over the years, but I can't say that I'm familiar with his music. But Sun Ra is who Pharoah started playing with when he first moved to New York. Sun Ra really helped get him on track when he was a young man. But Sun Ra was talking a lot about outer space, spaceships, but it never drew me in. You mentioned "The Creator Has A Master Plan.' Do you learn anything different about that song or does it change for you the more you play it? I do play it differently; I don't play it the same. I change the bottom. I don't change the overall sound of the song. I always enjoy playing, and I don't just got a certain bass line; I don't continue to play the bass line. I change it up, and you can add a lot of things on the top, too. The Pharoah Sanders Quartet plays the Rialto Center for the Arts. $56. 8 p.m. Sat., Oct. 14. Rialto Center for the Arts, 80 Forsyth St. NW. 404-413-9849. www.rialto.gsu.edu. Courtesy William Henderson MORE COWBELL: The Pharoah Sanders Quartet's pianist William Henderson. 20979280 http://dev.creativeloafing.com/image/2017/10/William_Henderson_Photo__1_.59e1a93775cfb.png A conversation with William Henderson " ["score"]=> float(0) ["_index"]=> string(21) "atlantawiki_tiki_main" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(161) "William Henderson Photo 1 .59e1a917367e4 " ["desc"]=> string(77) "The Pharoah Sanders Quartet pianist talks cowbells and improvisation" ["category"]=> string(12) "Show Preview" }

Show Preview

Saturday October 14, 2017 06:04 am EDT
The Pharoah Sanders Quartet pianist talks cowbells and improvisation | more...
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  string(4472) "Shouldies? Promoters describe the group as simply ex-Man up, Yancey, but who are they really? Having no internet presence, no music available as of press time, and only three shows under their belt, this new band is still a mystery.

Shouldies is an electronic-based, pop trio featuring singer and guitarist Yancey Ballard (Man up, Yancey), guitarist and synth player John Pierce (Man up, Yancey; Post Hunk) and drum machine and synth player Daniel Eberlein. The group came onto the Atlanta scene at Irrelevant Music Festival in July 2017. Man up, Yancey was booked to play the festival, but broke up shortly after the lineup was announced. Instead of using their slot at the festival as a grand exit for Man up, Yancey, it became Shouldies first show: "We were at a point with Man up, Yancey where we just didn't want to play,' Ballard says. "We could have done a whole big last show, but that's not us, what's the point?"

Their name came about simply from Ballard and Pierce mis-hearing the word "shoulders' as "shouldies' in various different songs. Although they had a pool of several other names for the band, Shouldies stuck with them, and was validated by an impulse-purchase of the domain name.

With Ballard and Pierce coming primarily from indie/punk rock backgrounds, and Eberlein with a background in improvised noise, a project focused on pop-structured music seems unlikely, but the idea for Shouldies was born from a desire for one main thing: relatability. Eberlein explains that they don't see value in music that's created to just sound mysterious, rather than embracing relatability. "We just wanna make songs that you can dance to, and with lyrics that are really meaningful, like something that gets stuck in your head,' he says. "It feels way more powerful than making some art statement that's supposed to be vague ... People want to relate to music and dance and be happy."

The group's personal influences reflect this yearning for relatability. While expressing a love for all genres, a wonderment for pop and electronic music is apparent, with an unlikely set of influences ranging from Mariah Carey and Tina Turner, to Kraftwerk and Suicide. Elements from these influences shine through in their sound, as well as the way they perform. Ballard is proud of his personal taste, claiming, "I listen to all this stuff that people would call shitty pop music, but it has so much more resonance, and more meaning than generic rock.'

Ballard's voice dropping also contributed greatly to their shift in genre. Ballard, who is transmasculine, is undergoing hormone therapy with testosterone. He didn't think his voice was working with Man up, Yancey anymore, but is better-suited for the sound the group is cultivating now. "I man'd up, literally,' Ballard says.

Simplifying the way they play music is important to their direction with the band as well, viewing proficiency with an instrument as subjacent to creativity. "It's more challenging to be creative with limitations,' Eberlein says. "Instead of just being like ???look what we can do,' we deliberately choose to filter it all out and choose the best things.'

As a result, each member had to make certain sacrifices to the way they've grown accustomed to playing, consciously refraining from ripping into guitar solos or making overly-intricate beats.

Shouldies seems set on their sound for now, but the future is unwritten. Pierce believes the group's sound developed naturally, and is constantly evolving, "This band has a big factor where we don't really say much to each other, we just play, and we know where we're going to go,' he says. "It's really nice. That's the cool thing about this band, we have a structure, but sometimes we go off of it."

Although a mystery so far, Shouldies won't be for long. The band plans on going full-force, but without jumping into new ground prematurely. Shouldies take their time to do things the right way. Their internet presence will only come about when they have content to put out; they don't just want a careless Facebook page without any pictures or music. Their focus, for now, lies on releasing a single, working on an album, an upcoming tour with Nihilist Cheerleader, and playing as many shows as possible in and around Atlanta.

Shouldies play 529 on Mon., Oct. 30. With Low Valley, Uniq, Agyn, and DJ Mannequin Lover. $5-$7 suggested donations. 9 p.m. 529 Flat Shoals Ave. 404-228-6769. www.529atlanta.com.

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  string(4620) "Shouldies? Promoters describe the group as simply ex-[https://manup-yancey.bandcamp.com/|Man up, Yancey], but who are they really? Having no internet presence, no music available as of press time, and only three shows under their belt, this new band is still a mystery.

Shouldies is an electronic-based, pop trio featuring singer and guitarist Yancey Ballard (Man up, Yancey), guitarist and synth player John Pierce (Man up, Yancey; Post Hunk) and drum machine and synth player Daniel Eberlein. The group came onto the Atlanta scene at Irrelevant Music Festival in July 2017. Man up, Yancey was booked to play the festival, but broke up shortly after the lineup was announced. Instead of using their slot at the festival as a grand exit for Man up, Yancey, it became Shouldies first show: "We were at a point with Man up, Yancey where we just didn't want to play,' Ballard says. "We could have done a whole big last show, but that's not us, what's the point?"

Their name came about simply from Ballard and Pierce mis-hearing the word "shoulders' as "shouldies' in various different songs. Although they had a pool of several other names for the band, Shouldies stuck with them, and was validated by an impulse-purchase of the domain name.

With Ballard and Pierce coming primarily from indie/punk rock backgrounds, and Eberlein with a background in improvised noise, a project focused on pop-structured music seems unlikely, but the idea for Shouldies was born from a desire for one main thing: relatability. Eberlein explains that they don't see value in music that's created to just sound mysterious, rather than embracing relatability. "We just wanna make songs that you can dance to, and with lyrics that are really meaningful, like something that gets stuck in your head,' he says. "It feels way more powerful than making some art statement that's supposed to be vague ... People want to relate to music and dance and be happy."

The group's personal influences reflect this yearning for relatability. While expressing a love for all genres, a wonderment for pop and electronic music is apparent, with an unlikely set of influences ranging from Mariah Carey and Tina Turner, to Kraftwerk and Suicide. Elements from these influences shine through in their sound, as well as the way they perform. Ballard is proud of his personal taste, claiming, "I listen to all this stuff that people would call shitty pop music, but it has so much more resonance, and more meaning than generic rock.'

Ballard's voice dropping also contributed greatly to their shift in genre. Ballard, who is transmasculine, is undergoing hormone therapy with testosterone. He didn't think his voice was working with Man up, Yancey anymore, but is better-suited for the sound the group is cultivating now. "I man'd up, literally,' Ballard says.

Simplifying the way they play music is important to their direction with the band as well, viewing proficiency with an instrument as subjacent to creativity. "It's more challenging to be creative with limitations,' Eberlein says. "Instead of just being like ???look what we can do,' we deliberately choose to filter it all out and choose the best things.'

As a result, each member had to make certain sacrifices to the way they've grown accustomed to playing, consciously refraining from ripping into guitar solos or making overly-intricate beats.

Shouldies seems set on their sound for now, but the future is unwritten. Pierce believes the group's sound developed naturally, and is constantly evolving, "This band has a big factor where we don't really say much to each other, we just play, and we know where we're going to go,' he says. "It's really nice. That's the cool thing about this band, we have a structure, but sometimes we go off of it."

Although a mystery so far, Shouldies won't be for long. The band plans on going full-force, but without jumping into new ground prematurely. Shouldies take their time to do things the right way. Their internet presence will only come about when they have content to put out; they don't just want a careless Facebook page without any pictures or music. Their focus, for now, lies on releasing a single, working on an album, an upcoming tour with Nihilist Cheerleader, and playing as many shows as possible in and around Atlanta.

''[https://local.creativeloafing.com/event-149090-Shouldies,-Low-Valley,-Uniq,-Agyn,-and-DJ-Mannequin-Lover|Shouldies play 529 on Mon., Oct. 30. With Low Valley, Uniq, Agyn, and DJ Mannequin Lover. $5-$7 suggested donations. 9 p.m. 529 Flat Shoals Ave. 404-228-6769. www.529atlanta.com.]''

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Shouldies is an electronic-based, pop trio featuring singer and guitarist Yancey Ballard (Man up, Yancey), guitarist and synth player John Pierce (Man up, Yancey; Post Hunk) and drum machine and synth player Daniel Eberlein. The group came onto the Atlanta scene at Irrelevant Music Festival in July 2017. Man up, Yancey was booked to play the festival, but broke up shortly after the lineup was announced. Instead of using their slot at the festival as a grand exit for Man up, Yancey, it became Shouldies first show: "We were at a point with Man up, Yancey where we just didn't want to play,' Ballard says. "We could have done a whole big last show, but that's not us, what's the point?"

Their name came about simply from Ballard and Pierce mis-hearing the word "shoulders' as "shouldies' in various different songs. Although they had a pool of several other names for the band, Shouldies stuck with them, and was validated by an impulse-purchase of the domain name.

With Ballard and Pierce coming primarily from indie/punk rock backgrounds, and Eberlein with a background in improvised noise, a project focused on pop-structured music seems unlikely, but the idea for Shouldies was born from a desire for one main thing: relatability. Eberlein explains that they don't see value in music that's created to just sound mysterious, rather than embracing relatability. "We just wanna make songs that you can dance to, and with lyrics that are really meaningful, like something that gets stuck in your head,' he says. "It feels way more powerful than making some art statement that's supposed to be vague ... People want to relate to music and dance and be happy."

The group's personal influences reflect this yearning for relatability. While expressing a love for all genres, a wonderment for pop and electronic music is apparent, with an unlikely set of influences ranging from Mariah Carey and Tina Turner, to Kraftwerk and Suicide. Elements from these influences shine through in their sound, as well as the way they perform. Ballard is proud of his personal taste, claiming, "I listen to all this stuff that people would call shitty pop music, but it has so much more resonance, and more meaning than generic rock.'

Ballard's voice dropping also contributed greatly to their shift in genre. Ballard, who is transmasculine, is undergoing hormone therapy with testosterone. He didn't think his voice was working with Man up, Yancey anymore, but is better-suited for the sound the group is cultivating now. "I man'd up, literally,' Ballard says.

Simplifying the way they play music is important to their direction with the band as well, viewing proficiency with an instrument as subjacent to creativity. "It's more challenging to be creative with limitations,' Eberlein says. "Instead of just being like ???look what we can do,' we deliberately choose to filter it all out and choose the best things.'

As a result, each member had to make certain sacrifices to the way they've grown accustomed to playing, consciously refraining from ripping into guitar solos or making overly-intricate beats.

Shouldies seems set on their sound for now, but the future is unwritten. Pierce believes the group's sound developed naturally, and is constantly evolving, "This band has a big factor where we don't really say much to each other, we just play, and we know where we're going to go,' he says. "It's really nice. That's the cool thing about this band, we have a structure, but sometimes we go off of it."

Although a mystery so far, Shouldies won't be for long. The band plans on going full-force, but without jumping into new ground prematurely. Shouldies take their time to do things the right way. Their internet presence will only come about when they have content to put out; they don't just want a careless Facebook page without any pictures or music. Their focus, for now, lies on releasing a single, working on an album, an upcoming tour with Nihilist Cheerleader, and playing as many shows as possible in and around Atlanta.

Shouldies play 529 on Mon., Oct. 30. With Low Valley, Uniq, Agyn, and DJ Mannequin Lover. $5-$7 suggested donations. 9 p.m. 529 Flat Shoals Ave. 404-228-6769. www.529atlanta.com.

     Cory Ferreira SHOULDIES: Yancey Ballard (from left), John Pierce, and Daniel Eberlein.        20979120         http://dev.creativeloafing.com/image/2017/10/Shouldies.59e66d8b78ea4.png                  Shouldies: Embracing relatability "
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Show Preview

Thursday October 12, 2017 08:23 pm EDT
Ex Man Up, Yancey members start new group to make people happy | more...
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  string(6072) "Released Friday, October 6, America Circa is Big Brutus' third full-length album, although it's the second album to arrive in 2017 bearing the project's name. The album falls on the heels of The Odd Willow, released in March, and finds singer, songwriter, and guitarist Sean Bryant's storytelling and conceptual approach growing by leaps and bounds. Each of the album's 10 songs are inspired by the people and the stories that Bryant encountered this year while trekking across the country on a bicycle tour, armed only with an acoustic guitar.

Part of America Circa's beauty lies in the quiet candor in Bryant's voice, mirrored by deceptively minimal arrangements and bold imagery. As the song "Consumer Machine' moves from a simmering whisper to a cacophonous brass roar, the album reaches its stride, opening a window into the psyche of modern America, where acute mental stimulation and espousing one's social and personal politics in fiery terms is the order of the day. Bryant took a few minutes to talk about the album and what he had in mind putting it all together.



In the simplest of terms, what is the underlying theme that drives America Circa?

Reflection on American history. I didn't necessarily intend to write a new album, I just wanted to talk with people along the way about their individual American experience, and after so much time alone on the road, I started writing it down.

I guess the idea is that it doesn't matter the "when" of when you jump into American history, the same themes are prevalent, and it'll require us to understand the past before we can fight for a better future.

It all started with a picture of a lynching I saw in a civil rights museum. Then biking through old Civil War battlefields while simultaneously the news is talking about Trump and Jeff Sessions, and the rolling back of civil liberties and the muddling of science with very right wing Christian beliefs. It just got to me I suppose.

The material stories and memories that you used for this album come from the people you encountered while you were out on the road, touring on your bike?

Yes sir they did. Some were older tunes I rewrote lyrics too, but it all came out of the road. I wrote most of it at the end in Brooklyn, after reflecting on it all. All the current events, the daily news cycle, the beautiful people I'd meet, the beautiful sites I'd see. It was all just very moving.

Is there a song on the album that you think of as the thesis one that really embodies what you are trying to get across with the album?

My favorite song is "I Was Just Leaving.' It's a sort of an inverted love song based on the Loving civil rights case, and the picture of that lynching I found. But it also deals with being complicit by inaction as well, hence the first chorus, "I was just leaving when they strung him up."

Thematically it's gotta be "America Circa,' that's the heart of the album. It dives directly into everything that I had been dancing around with the rest of the album. It's a pretty long song at 10 minutes, but I was writing from a mindset of being on a bike all day, so 10 minutes didn't actually feel too long. Hopefully it doesn't feel that way!

The word "America' in the title, and how it all came together makes me want to say "Americana,' but that would be misleading.

Ha ha, yes. You and everybody else!

But the word "Americana' and how it is perceived in a musical context is two different things.

That is a good point. When I was on the road I was listening to a lot of Tom Waits and Bob Dylan, so the comparison is definitely there. But I just wanted to make something quick and dirty, and steeped in horns and sax, because what's more American than jazz?

Were you listening to Tom Waits and Bob Dylan specifically for their lyrics, or were you honing in on the impressionism in their songs a bigger picture context?

Well ... I was just listening to a lot of stuff because I'd put music on while I was on my bike; kill time and listen to full albums which is something that is important to me. But yeah, Dylan and his way of approaching writing definitely made me want to come from that same place. That kind of "hop a train, 'this machine kills fascists'" Woody Guthrie kind of place.

Who else plays on the record?

Some good friends play with me! Ryan York who's played on every album, Scott Box on sax, Rachel Wright on vocals for consumer, Ivory Williams on flute and vocals, Jason Collier of the Soulphonics on the title track, Gardner Beson on bass, Kyle Bennett on piano, my old guitar teacher Jimmy Galloway on the song "Fall". I love getting as many creative minds together as possible. I have general outlines of what I hear, but I want their voices to shine through as well.

You rode your bike from from Boca Raton, Florida, to Eau Claire, Wisconsin 1,600 miles correct?

Nah, it changed but there was a forest fire and I injured myself so all in all I did Boca Raton to Richmond and then Richmond to Philadelphia. So I did almost 1000 miles, but not quite. I went to meet Ari Fouriezos in New York and help her move into her new place.

All while injured?

Well, I developed a popping joint in my right hand and got ridden off the road once, but I was okay, more or less.

Getting ridden off of the road sounds horrifying.

It was definitely an adrenaline rush! It all narrowed down to this dam and there was no side of the road so I had to just slam into the guard post. Then I had to cross over the bridge in front of an 18 wheeler. It was embarrassing haha!

It sounds like a harrowing experience.

Hardly. Harrowing is Indiana Jones getting chased by a boulder. This was just poor planning.

That's an intense bike ride. How would you plan for it?

You don't, I guess. You just start pedaling and hope for the best!

Big Brutus plays Plasma Fest 2017 w/ Loudermilk & Moon, Grand Prize Winners From Last Year, MonteQarlo, LONER, the Prblm, the Queendom, and World's Greatest Dad. $5. 6 p.m. (doors). Sat., Oct. 14. 420 McDonough Blvd SE.

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Part of ''America Circa'''s beauty lies in the quiet candor in Bryant's voice, mirrored by deceptively minimal arrangements and bold imagery. As the song "Consumer Machine' moves from a simmering whisper to a cacophonous brass roar, the album reaches its stride, opening a window into the psyche of modern America, where acute mental stimulation and espousing one's social and personal politics in fiery terms is the order of the day. Bryant took a few minutes to talk about the album and what he had in mind putting it all together.

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__In the simplest of terms, what is the underlying theme that drives ''America Circa''?__

Reflection on American history. I didn't necessarily intend to write a new album, I just wanted to talk with people along the way about their individual American experience, and after so much time alone on the road, I started writing it down.

I guess the idea is that it doesn't matter the "when" of when you jump into American history, the same themes are prevalent, and it'll require us to understand the past before we can fight for a better future.

It all started with a picture of a lynching I saw in a civil rights museum. Then biking through old Civil War battlefields while simultaneously the news is talking about Trump and Jeff Sessions, and the rolling back of civil liberties and the muddling of science with very right wing Christian beliefs. It just got to me I suppose.

__The material stories and memories that you used for this album come from the people you encountered while you were out on the road, touring on your bike?__

Yes sir they did. Some were older tunes I rewrote lyrics too, but it all came out of the road. I wrote most of it at the end in Brooklyn, after reflecting on it all. All the current events, the daily news cycle, the beautiful people I'd meet, the beautiful sites I'd see. It was all just very moving.

__Is there a song on the album that you think of as the thesis one that really embodies what you are trying to get across with the album?__

My favorite song is "I Was Just Leaving.' It's a sort of an inverted love song based on the Loving civil rights case, and the picture of that lynching I found. But it also deals with being complicit by inaction as well, hence the first chorus, "I was just leaving when they strung him up."

Thematically it's gotta be "America Circa,' that's the heart of the album. It dives directly into everything that I had been dancing around with the rest of the album. It's a pretty long song at 10 minutes, but I was writing from a mindset of being on a bike all day, so 10 minutes didn't actually feel too long. Hopefully it doesn't feel that way!

__The word "America' in the title, and how it all came together makes me want to say "Americana,' but that would be misleading.__

Ha ha, yes. You and everybody else!

__But the word "Americana' and how it is perceived in a musical context is two different things.__

That is a good point. When I was on the road I was listening to a lot of Tom Waits and Bob Dylan, so the comparison is definitely there. But I just wanted to make something quick and dirty, and steeped in horns and sax, because what's more American than jazz?

Were you listening to Tom Waits and Bob Dylan specifically for their lyrics, or were you honing in on the impressionism in their songs a bigger picture context?

Well ... I was just listening to a lot of stuff because I'd put music on while I was on my bike; kill time and listen to full albums which is something that is important to me. But yeah, Dylan and his way of approaching writing definitely made me want to come from that same place. That kind of "hop a train, 'this machine kills fascists'" Woody Guthrie kind of place.

__Who else plays on the record?__

Some good friends play with me! Ryan York who's played on every album, Scott Box on sax, Rachel Wright on vocals for consumer, Ivory Williams on flute and vocals, Jason Collier of the Soulphonics on the title track, Gardner Beson on bass, Kyle Bennett on piano, my old guitar teacher Jimmy Galloway on the song "Fall". I love getting as many creative minds together as possible. I have general outlines of what I hear, but I want their voices to shine through as well.

__You rode your bike from from Boca Raton, Florida, to Eau Claire, Wisconsin 1,600 miles correct?__

Nah, it changed but there was a forest fire and I injured myself so all in all I did Boca Raton to Richmond and then Richmond to Philadelphia. So I did almost 1000 miles, but not quite. I went to meet Ari Fouriezos in New York and help her move into her new place.

__All while injured?__

Well, I developed a popping joint in my right hand and got ridden off the road once, but I was okay, more or less.

__Getting ridden off of the road sounds horrifying.__

It was definitely an adrenaline rush! It all narrowed down to this dam and there was no side of the road so I had to just slam into the guard post. Then I had to cross over the bridge in front of an 18 wheeler. It was embarrassing haha!

__It sounds like a harrowing experience.__

Hardly. Harrowing is Indiana Jones getting chased by a boulder. This was just poor planning.

__That's an intense bike ride. How would you plan for it?__

You don't, I guess. You just start pedaling and hope for the best!

''[https://www.facebook.com/events/797728177075787/|Big Brutus plays Plasma Fest 2017 w/ Loudermilk & Moon, Grand Prize Winners From Last Year, MonteQarlo, LONER, the Prblm, the Queendom, and World's Greatest Dad. $5. 6 p.m. (doors). Sat., Oct. 14. 420 McDonough Blvd SE.]''

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  string(6502) "    Singer, songwriter, and guitarist Sean Bryant's third album opens a window into the psyche of modern America   2017-10-08T18:48:00+00:00 Big Brutus talks 'America Circa' clint@thenetworkedplanet.com Clint Bergst Chad Radford Chad Radford 2017-10-08T18:48:00+00:00  Released Friday, October 6, America Circa is Big Brutus' third full-length album, although it's the second album to arrive in 2017 bearing the project's name. The album falls on the heels of The Odd Willow, released in March, and finds singer, songwriter, and guitarist Sean Bryant's storytelling and conceptual approach growing by leaps and bounds. Each of the album's 10 songs are inspired by the people and the stories that Bryant encountered this year while trekking across the country on a bicycle tour, armed only with an acoustic guitar.

Part of America Circa's beauty lies in the quiet candor in Bryant's voice, mirrored by deceptively minimal arrangements and bold imagery. As the song "Consumer Machine' moves from a simmering whisper to a cacophonous brass roar, the album reaches its stride, opening a window into the psyche of modern America, where acute mental stimulation and espousing one's social and personal politics in fiery terms is the order of the day. Bryant took a few minutes to talk about the album and what he had in mind putting it all together.



In the simplest of terms, what is the underlying theme that drives America Circa?

Reflection on American history. I didn't necessarily intend to write a new album, I just wanted to talk with people along the way about their individual American experience, and after so much time alone on the road, I started writing it down.

I guess the idea is that it doesn't matter the "when" of when you jump into American history, the same themes are prevalent, and it'll require us to understand the past before we can fight for a better future.

It all started with a picture of a lynching I saw in a civil rights museum. Then biking through old Civil War battlefields while simultaneously the news is talking about Trump and Jeff Sessions, and the rolling back of civil liberties and the muddling of science with very right wing Christian beliefs. It just got to me I suppose.

The material stories and memories that you used for this album come from the people you encountered while you were out on the road, touring on your bike?

Yes sir they did. Some were older tunes I rewrote lyrics too, but it all came out of the road. I wrote most of it at the end in Brooklyn, after reflecting on it all. All the current events, the daily news cycle, the beautiful people I'd meet, the beautiful sites I'd see. It was all just very moving.

Is there a song on the album that you think of as the thesis one that really embodies what you are trying to get across with the album?

My favorite song is "I Was Just Leaving.' It's a sort of an inverted love song based on the Loving civil rights case, and the picture of that lynching I found. But it also deals with being complicit by inaction as well, hence the first chorus, "I was just leaving when they strung him up."

Thematically it's gotta be "America Circa,' that's the heart of the album. It dives directly into everything that I had been dancing around with the rest of the album. It's a pretty long song at 10 minutes, but I was writing from a mindset of being on a bike all day, so 10 minutes didn't actually feel too long. Hopefully it doesn't feel that way!

The word "America' in the title, and how it all came together makes me want to say "Americana,' but that would be misleading.

Ha ha, yes. You and everybody else!

But the word "Americana' and how it is perceived in a musical context is two different things.

That is a good point. When I was on the road I was listening to a lot of Tom Waits and Bob Dylan, so the comparison is definitely there. But I just wanted to make something quick and dirty, and steeped in horns and sax, because what's more American than jazz?

Were you listening to Tom Waits and Bob Dylan specifically for their lyrics, or were you honing in on the impressionism in their songs a bigger picture context?

Well ... I was just listening to a lot of stuff because I'd put music on while I was on my bike; kill time and listen to full albums which is something that is important to me. But yeah, Dylan and his way of approaching writing definitely made me want to come from that same place. That kind of "hop a train, 'this machine kills fascists'" Woody Guthrie kind of place.

Who else plays on the record?

Some good friends play with me! Ryan York who's played on every album, Scott Box on sax, Rachel Wright on vocals for consumer, Ivory Williams on flute and vocals, Jason Collier of the Soulphonics on the title track, Gardner Beson on bass, Kyle Bennett on piano, my old guitar teacher Jimmy Galloway on the song "Fall". I love getting as many creative minds together as possible. I have general outlines of what I hear, but I want their voices to shine through as well.

You rode your bike from from Boca Raton, Florida, to Eau Claire, Wisconsin 1,600 miles correct?

Nah, it changed but there was a forest fire and I injured myself so all in all I did Boca Raton to Richmond and then Richmond to Philadelphia. So I did almost 1000 miles, but not quite. I went to meet Ari Fouriezos in New York and help her move into her new place.

All while injured?

Well, I developed a popping joint in my right hand and got ridden off the road once, but I was okay, more or less.

Getting ridden off of the road sounds horrifying.

It was definitely an adrenaline rush! It all narrowed down to this dam and there was no side of the road so I had to just slam into the guard post. Then I had to cross over the bridge in front of an 18 wheeler. It was embarrassing haha!

It sounds like a harrowing experience.

Hardly. Harrowing is Indiana Jones getting chased by a boulder. This was just poor planning.

That's an intense bike ride. How would you plan for it?

You don't, I guess. You just start pedaling and hope for the best!

Big Brutus plays Plasma Fest 2017 w/ Loudermilk & Moon, Grand Prize Winners From Last Year, MonteQarlo, LONER, the Prblm, the Queendom, and World's Greatest Dad. $5. 6 p.m. (doors). Sat., Oct. 14. 420 McDonough Blvd SE.

              20978482         http://dev.creativeloafing.com/image/2017/10/BigBrutusEarl5_49.59db0dea8219f.png                  Big Brutus talks 'America Circa' "
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Sunday October 8, 2017 02:48 pm EDT
Singer, songwriter, and guitarist Sean Bryant's third album opens a window into the psyche of modern America | more...
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  string(2665) "The weekend portion of this year's A3C festival, aka hip-hop's biggest stage, carries on today, Sat., Oct. 7, at the Georgia Freight Depot and surrounding areas. There's a marathon of performances taking over the fest until well after the sun sets over Downtown Atlanta Sunday night. The full lineup is available via A3C's website. In the meantime, check out CL's top 5 weekend picks for must-see acts. Single day tickets are available for $46. Weekend passes are $85.

Fool's Gold Day Off
Doors open for the Fool's Gold festivities at 1 p.m., leaving plenty of time to fuel up and prepare for the epic chain of events that are about to unfold. A-Trak, DJ Drama and Don Cannon, Zaytoven and friends, Project Pat, Kodie Shane, and more top the bill for the day. Any time between 1 and 11 p.m. is a guaranteed party. Georgia Freight Depot. 1 p.m.

Fast Forward ft. DJs Coco and Breezy
Catch a vibe with world renowned DJs Coco and Breezy when they deliver the hottest in hip-hop from all three coasts. Foxxy, Hourglass, Mike Nasty, Anthony Somebody of Quite Hype, and Odalys Pena are also lined up to take the stage. Sat., Oct. 7. Space 2. Free. 10 p.m.

WorldstarHipHop takes on A3C
WorldstarHipHop joins forces with Opposition to host a stellar showcase ft. performances by Lil Pump, Lil B THE BASEDGOD, Ski Mask the Slump God, Lil Baby, OMB Peezy, and Lil Xan. Entry is free to the first 400 full A3C, A3C group or Executive passes. $55 + fees otherwise. 9:30 p.m. (doors). Masquerade, 75 MLK Jr. Drive SW. 404-577-8178. www.masq.com.

Dillon Vaughan Maurer
Dillon Vaughan Maurer has worn many hats throughout his career: MC, DJ, producer, lobster man, and master chef. He's also the only artist to have graced the stage during every single A3C event all 13 of them. He's a staple of Atlanta's underground hip-hop scene, a must-see act, and this year he can be found dominating the Spinderella Sunday stage alongside Statik Selektah, Kool Keith, and many more. For this performance Dillon will be rocking the stage with Batsauce by his side. Georgia Freight Depot. 2 p.m.

Your Old Droog
If you only see one show during this year's A3C weekend which is actually kind of difficult to do do not miss Your Old Droog. The Ukrainian-American, Brooklyn-based boom-bap renaissance man packs an old school, up-top style that flows like lava. People used to speculate about some perceived beef between Droog and Naz, but here they are, rocking the A3C stage on the same day. This is Droog's debut Atlanta performance. Georgia Freight Depot. 4 p.m.

The Georgia Freight Depot is located at 65 Martin Luther King Jr. Drive NW. Visit A3C for more information."
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__[http://www.a3cfestival.com/schedule/shows-and-events/a3c-festival-fool-s-gold-day-off|Fool's Gold Day Off]__
Doors open for the Fool's Gold festivities at 1 p.m., leaving plenty of time to fuel up and prepare for the epic chain of events that are about to unfold. A-Trak, DJ Drama and Don Cannon, Zaytoven and friends, Project Pat, Kodie Shane, and more top the bill for the day. Any time between 1 and 11 p.m. is a guaranteed party. ''Georgia Freight Depot. 1 p.m.''

__[http://www.a3cfestival.com/schedule/shows-and-events/sat/fast-forward|Fast Forward ft. DJs Coco and Breezy]__
Catch a vibe with world renowned [https://www.cocoandbreezy.com/|DJs Coco and Breezy] when they deliver the hottest in hip-hop from all three coasts. Foxxy, Hourglass, Mike Nasty, Anthony Somebody of Quite Hype, and Odalys Pena are also lined up to take the stage. ''Sat., Oct. 7. Space 2. Free. 10 p.m.''

__[http://www.masqueradeatlanta.com/attraction/worldstar-exclusive-a3c-showcase/|WorldstarHipHop takes on A3C]__
[http://www.worldstarhiphop.com/videos/|WorldstarHipHop] joins forces with [https://www.opposition.tv/|Opposition] to host a stellar showcase ft. performances by Lil Pump, Lil B THE BASEDGOD, Ski Mask the Slump God, Lil Baby, OMB Peezy, and Lil Xan. Entry is free to the first 400 full A3C, A3C group or Executive passes. ''$55 + fees otherwise. 9:30 p.m. (doors). Masquerade, 75 MLK Jr. Drive SW. 404-577-8178. www.masq.com.''

__[http://www.a3cfestival.com/schedule/shows-and-events/sun/spinrilla-sunday|Dillon Vaughan Maurer]__
Dillon Vaughan Maurer has worn many hats throughout his career: MC, DJ, producer, lobster man, and master chef. He's also the only artist to have graced the stage during every single A3C event all 13 of them. He's a staple of Atlanta's underground hip-hop scene, a must-see act, and this year he can be found dominating the Spinderella Sunday stage alongside Statik Selektah, Kool Keith, and many more. For this performance Dillon will be rocking the stage with [http://www.batsauce.com/dotcom/|Batsauce] by his side. ''Georgia Freight Depot. 2 p.m.''

__[https://soundcloud.com/your-old-droog|Your Old Droog]__
If you only see one show during this year's A3C weekend which is actually kind of difficult to do do not miss Your Old Droog. The Ukrainian-American, Brooklyn-based boom-bap renaissance man packs an old school, up-top style that flows like lava. People used to speculate about some perceived beef between Droog and Naz, but here they are, rocking the A3C stage on the same day. This is Droog's debut Atlanta performance. ''Georgia Freight Depot. 4 p.m.''

''[https://www.a3cfestival.com/|The Georgia Freight Depot is located at 65 Martin Luther King Jr. Drive NW. Visit A3C for more information.]''"
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  string(3232) " Your Old Droog.59d8fe6e421a8  2018-05-22T17:06:14+00:00 Your_Old_Droog.59d8fe6e421a8.jpg     Your Old Droog, Coco and Breezy, and more must-see acts taking over hip-hop's biggest stage 5790  2017-10-07T20:03:00+00:00 A3C 2017 weekend top 5 clint@thenetworkedplanet.com Clint Bergst Chad Radford|Clarissa Brooks  2017-10-07T20:03:00+00:00  The weekend portion of this year's A3C festival, aka hip-hop's biggest stage, carries on today, Sat., Oct. 7, at the Georgia Freight Depot and surrounding areas. There's a marathon of performances taking over the fest until well after the sun sets over Downtown Atlanta Sunday night. The full lineup is available via A3C's website. In the meantime, check out CL's top 5 weekend picks for must-see acts. Single day tickets are available for $46. Weekend passes are $85.

Fool's Gold Day Off
Doors open for the Fool's Gold festivities at 1 p.m., leaving plenty of time to fuel up and prepare for the epic chain of events that are about to unfold. A-Trak, DJ Drama and Don Cannon, Zaytoven and friends, Project Pat, Kodie Shane, and more top the bill for the day. Any time between 1 and 11 p.m. is a guaranteed party. Georgia Freight Depot. 1 p.m.

Fast Forward ft. DJs Coco and Breezy
Catch a vibe with world renowned DJs Coco and Breezy when they deliver the hottest in hip-hop from all three coasts. Foxxy, Hourglass, Mike Nasty, Anthony Somebody of Quite Hype, and Odalys Pena are also lined up to take the stage. Sat., Oct. 7. Space 2. Free. 10 p.m.

WorldstarHipHop takes on A3C
WorldstarHipHop joins forces with Opposition to host a stellar showcase ft. performances by Lil Pump, Lil B THE BASEDGOD, Ski Mask the Slump God, Lil Baby, OMB Peezy, and Lil Xan. Entry is free to the first 400 full A3C, A3C group or Executive passes. $55 + fees otherwise. 9:30 p.m. (doors). Masquerade, 75 MLK Jr. Drive SW. 404-577-8178. www.masq.com.

Dillon Vaughan Maurer
Dillon Vaughan Maurer has worn many hats throughout his career: MC, DJ, producer, lobster man, and master chef. He's also the only artist to have graced the stage during every single A3C event all 13 of them. He's a staple of Atlanta's underground hip-hop scene, a must-see act, and this year he can be found dominating the Spinderella Sunday stage alongside Statik Selektah, Kool Keith, and many more. For this performance Dillon will be rocking the stage with Batsauce by his side. Georgia Freight Depot. 2 p.m.

Your Old Droog
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The Georgia Freight Depot is located at 65 Martin Luther King Jr. Drive NW. Visit A3C for more information.    Courtesy A3C Your Old Droog plays the Georgia Freight Depot Sun., Oct. 8. 4 p.m.        20978478         http://dev.creativeloafing.com/image/2017/10/Your_Old_Droog.59d8fe82e8c91.png                  A3C 2017 weekend top 5 "
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Show Preview

Saturday October 7, 2017 04:03 pm EDT
Your Old Droog, Coco and Breezy, and more must-see acts taking over hip-hop's biggest stage | more...
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  string(81) "Mastodon's singer and guitarist Troy Sanders reflects on a nearly 20-year journey"
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Mastodon plays the Fox Theatre tonight (Fri., Oct. 6). Before the show, singer and guitarist Troy Sanders check in to talk about what defines the group's latest album, Emperor of Sand, and the group's nearly 20-year journey from playing house shows and warehouse to landing on stage at the Fox.

Did you grow up in Atlanta?

I was born and raised in the Stone Mountain area. I went to Shiloh High School, and, as a joke, my best friend put my name in the mix for the senior class government, you know like president and secretary. Surprisingly, I was voted class president. So all these years later I still get a kick out of saying that. It's funny to me, and the only thing I did as class president was organize a battle of the bands. I had seen a battle of the bands at a friend's high school and thought it was the coolest thing ever. Me and a lot of friends were in bands so we were like, "let's do that!"

Did you get good bands to play?

Well there were some cool bands. I knew some of my friends that were in bands and sure enough they gathered, and we made it happen. There were some guys covering the Cure and some covering songs by the Church, and my band at the time was called Mind Jive. We played, and that's my favorite high school memory. Battle of the Bands, setting up a stage in the cafeteria and rocking out with a smoke machine.

Mind Jive?

Yeah! Mind Jive was a short lived band in high school, and then it turned into Knuckle with Gary Lindsey, and then there was Four Hour Fogger with Brent Hinds, and that turned into Mastodon.

Personally speaking, there's a great arc to follow here: You mentioned Four Hour Fogger. When I was new to Atlanta, a lot of punk, hardcore, and metal bands played at the Parasite House ...

Yeah, that's where Mastodon played our first show!

I was there. I remember you playing in Social Infestation, and there was Leach Milk. That was my intro to Atlanta's house show scene. So to have watched you go from playing at the Parasite House to playing the Fox Theater is an epic, triumphant story.

Yes, and it's something I look at with utmost pride. Back then we played any and every show at the C-11 Warehouse, the Parasite, and every dive bar in between ... Over the past 20 years ... ish. We played in apartment kitchens, anything and everything. I am proud, for myself and for all four members of Mastodon for being so driven since day one to keep forging ahead, and sharing the same fire and persistence that we've had since we met in January of 2000.

Do you remember the first show you saw at the Fox Theatre?

Yes, I skipped school to see Ozzy Osbourne's 1992 "No More Tours" show. He was supposedly retiring - no more tours, like "No More Tears.' I was like dude, I'm going to this. I went by myself! I was the first guy in line at Fox all day long. It's funny, that was 1992. Here we are in 2017, and recently, in Louisville, Kentucky, Mastodon played with Ozzy Osbourne. So who's laughing now? ... I guess I'm laughing at myself. But I wanted to see Ozzy before he retired. That was 25 years ago and he's still touring, stronger than ever. Since then, I saw a little band called Pantera open for Skid Row at the Fox. I cried twice when John Prine played, beautiful tears, listening to beautiful songs. I saw Nine Inch Nails there in the early '90s, that was incredible. Lady GaGa, I saw her a few years ago.

There's a song on Emperor of Sand called "Ancient Kingdom,' which feels to me like the album's centerpiece.

It's a song that was written about what we are doing, what we are creating, and why we are doing this. I think of it like ... some things last forever, like, if you can imagine, stumbling upon the remains of a 2,000 year old city. What still stands? That's kind of our take on creating music. We pride ourselves on substance and quality. We are constantly grounding ourselves amid all the touring and all of the time we spend away from home by asking ourselves "are we doing this for the right reasons?' Will this music stand the test of time? Can we channel our personally horrific events that we're dealing with into a beautiful song? Take a negative and turn it into a positive? Will these albums be solid enough to live the shelf life of a music fan? Will people pull out this record in 10, 20, 30 years from now and want to listen to it? All of these things are racked up in this one song. It's my current favorite song to play live because it sums up the last two years of my life coming out of some very dark and horrific moments and feeling like I prevailed. "Ancient Kingdom' validates every ounce of my being and why I go on tour and am missing watching my children grow up, and missing spending a lot of time with my wife. But it's an everyday reminder that me and my guys are in this band for the right reasons.

I hear more of Brann's voice on this record. Do you think his singing changed the way the group wrote these songs?

It happened very naturally, and it goes all the way back to us just doing karaoke at the Star Bar 15 years ago. We always thought Brann had a beautiful, strong voice. He was like 'Great, but I play drums! I can't do that while playing drums.' And, you know, he's an octopus on steroids behind this mountain of a drum kit. But over time he became more comfortable chiming in vocally. It was on Crack the Skye that he became comfortable singing and playing at the same time. Before that, it was only Brent and I sharing vocals, but a third voice in the mix has really opened it up, making what we call our "vocal tag team trio.' Now it's in a place where all three of our voices lend themselves to the part the best voice for the part is what we aim for. Thankfully we're quite selfless: I could write the lyrics but Brent sings them, or any combination like that. It's not like, "I wrote the lyrics, I'm singing them!"

What defines Emperor of Sand for you?

Personally, this record hangs on themes of cancer. My wife was going through cancer treatment while we were writing this record. Brann's mother was diagnosed with lung cancer, and Bill's mother was diagnosed with brain cancer, and she died. This all happened while we were trying to write. So it becomes obvious as we got together every day that we're all feeling somewhat defeated and mentally destroyed. We all want to turn the darkness into light, we want to channel all of these emotions and anger and frustration all the negativity into something we can put on the tape that becomes beautiful and positive, and that lives forever. Bringing it right back to "Ancient Kingdom." To me, that defines it. It was fucking horrific, and I didn't know if this was going to take my wife's life. I didn't know if I was going to be a widowed father or husband and have to quit the band. I knew nothing about cancer except that it was in my wife's body, and it was two years of multiple operations and multiple therapies.

She's cancer free now. She still has side effects, and she's on medication. She's had to deal with shots of radiation, six weeks of chemotherapy, and seven different surgeries. It was fucking horrible, man. All this takes you down to near death, and it was just so painful to watch. I wished it were me. But it could happen to anybody, and it's just horrific. It fueled our everything, hopefully for the better.

All of this fed into the record, as well as my bandmates' stories. I don't want to say it was a total triumph, because it wasn't for Bill. But this record collects our attitude, outlook, and perspective. It has enabled me to become more wholesome, and it's a reminder to use my time wisely.

Mastodon plays the Fox Theatre tonight (Fri., Oct. 6), with Eagles of Death Metal and Russian Circles. $43.70-$65.60. 7 p.m. 660 Peachtree St NE. 404-881-2100.

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Show Preview" }

Music, Show Preview

Friday October 6, 2017 06:55 pm EDT
Mastodon's singer and guitarist Troy Sanders reflects on a nearly 20-year journey | more...
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  string(3787) "Trash PandaKaitlin Flint






A strange brew of psychedelic grunge, pop, punk, and blue-eyed soul collide, adding blissful flavor to Trash Panda’s multifaceted sound. When it comes to tying down a single genre to label the Atlanta trio, Trash Panda is a modern day honey badger, with its pleasant, “I don't give a shit” demeanor. Who cares as long as you’re having fun, right? 

While the group is all about having fun in the name of sheer Instagram-worthy decadence as seen in the “Atlanta Girls” video, that’s only part of the story. The guys posses a deep understanding that the city scene has tarnished relationships, as beauty only runs skin deep.

Now, the group has some new music coming together, including the single “Heartbreak Pulsar.” The song is taken from  the forthcoming LP, Starclimber, which is set to arrive in early 2018. In the meantime, CL has the first look at the song's video.



In 2015 vocalist and guitarist Patrick Taylor, bassist Max Hewett, and drummer Mitch Standfield came together to form Trash Panda, ready to hit the streets running. Since releasing the group’s first single, “Off,” in July 2016 the band has gained a Spotify following of more than 53,000 monthly listeners.

Upcoming releases

“Heartbreak Pulsar,” according to the group, is “an observation of techno-centric relationships,” exemplifying the lack of depth and commitment in relationships nowadays. With social media being a considerably important part of society, lust and isolation seem to trickle through the cracks. The digital age provides the chance to easily stay connected and understand one another in new and exhilarating ways, but being too available seems to harness an undesirable trait.

The video sets scenes of two lovers swimming through a cosmic swimming pool over lyrics such as: “Seems like since 2015 if you care at all you’re already too needy” and “you get your heart involved but your problems are never solved,” which confront the lack of human interaction and cry out for raw and authentic relationships.

In the past, Trash Panda has thrived in an environment of experimentation with different genre combinations, and Starclimber only expands upon the group’s outward movement.

What can fans expect from the new album?

Mitch Standfield: “It’s kind of a punch to the throat in comparison to the Off EP. More developed songs, more flourished, but more raw. More stank.”

Patrick Taylor: “Higher octane definitely. There are some deeper themes, too.”

Max Hewett: “It’s pretty eclectic; there are different genres we experimented with.”






“Atlanta Girls”

“Atlanta Girls,” released in July, represents none other than the city and the women who bring it to life. With a catchy chorus, electrifying guitar breaks and overall groovy-pop style played over images of women cutting loose in a drunken summer haze, the song seems to be a new rock anthem for rebellious youth.

While the lyrics undoubtedly glorify the women of Atlanta, there is a dark truth lingering between the funk-filled grooves, confronting the malicious aspects of night-life.

“Atlanta Girls” is such an upbeat song that holds the dark truth about Atlanta night life, can you explain the ideas and influences behind this song?

PT: The idea spawned from experience, seeing messed up shit happening when you go out.

MH: We were having a conversation about Buckhead. If you don’t go out there often you forget how the nightlife can be, then go back and remember just how terrible it is.

MS: … and then you’re just drunk, alone, and sad ... with a bloody lip.



Trash Panda plays at Aisle 5 with Chelsea Shag and the Pussywillows. $10-$15. 9 p.m. Sat., Oct. 21.1123 Euclid Ave. N.E. www.aisle5atl.com."
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~hc~]}%~/hc~



____

A strange brew of psychedelic grunge, pop, punk, and blue-eyed soul collide, adding blissful flavor to [https://www.trashpandalegit.com/|Trash Panda]’s multifaceted sound. When it comes to tying down a single genre to label the Atlanta trio, Trash Panda is a modern day [https://www.youtube.com/watch?v=M0wi7Ugct1w|honey badger], with its pleasant, “I don't give a shit” demeanor. Who cares as long as you’re having fun, right? 

While the group is all about having fun in the name of sheer Instagram-worthy decadence as seen in the “Atlanta Girls” video, that’s only part of the story. The guys posses a deep understanding that the city scene has tarnished relationships, as beauty only runs skin deep.

Now, the group has some new music coming together, including the single “Heartbreak Pulsar.” The song is taken from  the forthcoming LP, ''Starclimber'', which is set to arrive in early 2018. In the meantime, ''CL'' has the first look at the song's video.



In 2015 vocalist and guitarist Patrick Taylor, bassist Max Hewett, and drummer Mitch Standfield came together to form Trash Panda, ready to hit the streets running. Since releasing the group’s first single, “[https://www.youtube.com/watch?v=qmbX3odL5xg|Off],” in July 2016 the band has gained a Spotify following of more than 53,000 monthly listeners.

__Upcoming releases__

“Heartbreak Pulsar,” according to the group, is “an observation of techno-centric relationships,” exemplifying the lack of depth and commitment in relationships nowadays. With social media being a considerably important part of society, lust and isolation seem to trickle through the cracks. The digital age provides the chance to easily stay connected and understand one another in new and exhilarating ways, but being too available seems to harness an undesirable trait.

The video sets scenes of two lovers swimming through a cosmic swimming pool over lyrics such as: “Seems like since 2015 if you care at all you’re already too needy” and “you get your heart involved but your problems are never solved,” which confront the lack of human interaction and cry out for raw and authentic relationships.

In the past, Trash Panda has thrived in an environment of experimentation with different genre combinations, and ''Starclimber'' only expands upon the group’s outward movement.

__What can fans expect from the new album?__

Mitch Standfield: “It’s kind of a punch to the throat in comparison to the ''Off'' EP. More developed songs, more flourished, but more raw. More stank.”

Patrick Taylor: “Higher octane definitely. There are some deeper themes, too.”

Max Hewett: “It’s pretty eclectic; there are different genres we experimented with.”

____
____



__“Atlanta Girls”__

“Atlanta Girls,” released in July, represents none other than the city and the women who bring it to life. With a catchy chorus, electrifying guitar breaks and overall groovy-pop style played over images of women cutting loose in a drunken summer haze, the song seems to be a new rock anthem for rebellious youth.

While the lyrics undoubtedly glorify the women of Atlanta, there is a dark truth lingering between the funk-filled grooves, confronting the malicious aspects of night-life.

__“Atlanta Girls” is such an upbeat song that holds the dark truth about Atlanta night life, can you explain the ideas and influences behind this song?__

PT: The idea spawned from experience, seeing messed up shit happening when you go out.

MH: We were having a conversation about Buckhead. If you don’t go out there often you forget how the nightlife can be, then go back and remember just how terrible it is.

MS: … and then you’re just drunk, alone, and sad ... with a bloody lip.

____

[https://creativeloafing.com/event-143724-FrankenFunk-at-Aisle-5-with-Chelsea-Shag-&-The-Pussywillows|''Trash Panda plays at Aisle 5 with Chelsea Shag and the Pussywillows. $10-$15. 9 p.m. Sat., Oct. 21.1123 Euclid Ave. N.E. www.aisle5atl.com.'']"
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  string(4241) "    With 'Heartbreak Pulsar' the indie rock trio examines human interaction and commitment   2017-10-06T15:39:00+00:00 Trash Panda: Who are these guys and what are they up to? laureneleathers@gmail.com Lauren Leathers Lauren Leathers Lauren Leathers 2017-10-06T15:39:00+00:00  Trash PandaKaitlin Flint






A strange brew of psychedelic grunge, pop, punk, and blue-eyed soul collide, adding blissful flavor to Trash Panda’s multifaceted sound. When it comes to tying down a single genre to label the Atlanta trio, Trash Panda is a modern day honey badger, with its pleasant, “I don't give a shit” demeanor. Who cares as long as you’re having fun, right? 

While the group is all about having fun in the name of sheer Instagram-worthy decadence as seen in the “Atlanta Girls” video, that’s only part of the story. The guys posses a deep understanding that the city scene has tarnished relationships, as beauty only runs skin deep.

Now, the group has some new music coming together, including the single “Heartbreak Pulsar.” The song is taken from  the forthcoming LP, Starclimber, which is set to arrive in early 2018. In the meantime, CL has the first look at the song's video.



In 2015 vocalist and guitarist Patrick Taylor, bassist Max Hewett, and drummer Mitch Standfield came together to form Trash Panda, ready to hit the streets running. Since releasing the group’s first single, “Off,” in July 2016 the band has gained a Spotify following of more than 53,000 monthly listeners.

Upcoming releases

“Heartbreak Pulsar,” according to the group, is “an observation of techno-centric relationships,” exemplifying the lack of depth and commitment in relationships nowadays. With social media being a considerably important part of society, lust and isolation seem to trickle through the cracks. The digital age provides the chance to easily stay connected and understand one another in new and exhilarating ways, but being too available seems to harness an undesirable trait.

The video sets scenes of two lovers swimming through a cosmic swimming pool over lyrics such as: “Seems like since 2015 if you care at all you’re already too needy” and “you get your heart involved but your problems are never solved,” which confront the lack of human interaction and cry out for raw and authentic relationships.

In the past, Trash Panda has thrived in an environment of experimentation with different genre combinations, and Starclimber only expands upon the group’s outward movement.

What can fans expect from the new album?

Mitch Standfield: “It’s kind of a punch to the throat in comparison to the Off EP. More developed songs, more flourished, but more raw. More stank.”

Patrick Taylor: “Higher octane definitely. There are some deeper themes, too.”

Max Hewett: “It’s pretty eclectic; there are different genres we experimented with.”






“Atlanta Girls”

“Atlanta Girls,” released in July, represents none other than the city and the women who bring it to life. With a catchy chorus, electrifying guitar breaks and overall groovy-pop style played over images of women cutting loose in a drunken summer haze, the song seems to be a new rock anthem for rebellious youth.

While the lyrics undoubtedly glorify the women of Atlanta, there is a dark truth lingering between the funk-filled grooves, confronting the malicious aspects of night-life.

“Atlanta Girls” is such an upbeat song that holds the dark truth about Atlanta night life, can you explain the ideas and influences behind this song?

PT: The idea spawned from experience, seeing messed up shit happening when you go out.

MH: We were having a conversation about Buckhead. If you don’t go out there often you forget how the nightlife can be, then go back and remember just how terrible it is.

MS: … and then you’re just drunk, alone, and sad ... with a bloody lip.



Trash Panda plays at Aisle 5 with Chelsea Shag and the Pussywillows. $10-$15. 9 p.m. Sat., Oct. 21.1123 Euclid Ave. N.E. www.aisle5atl.com.             20978340         http://dev.creativeloafing.com/image/2017/10/TP_Promo2.59d76cb7bc3c4.png                  Trash Panda: Who are these guys and what are they up to? "
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Friday October 6, 2017 11:39 am EDT
With 'Heartbreak Pulsar' the indie rock trio examines human interaction and commitment | more...
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In February of 1969, Pharoah Sanders changed the shape of jazz to come with when he unveiled the album, Karma. Drop a needle on the album nearly 50 years later and the expansive, sidelong cosmic journey "The Creator Has a Master Plan' weaves a tapestry of modal, post-bop and avant-garde musical exploration the likes of which the world has yet to encounter anywhere else. It's a career-defining work that raises the bar high for both structured and free jazz performance. Now 77 years old, the tenor sax master still explores the nuances of fiery music  cosmically, spiritual, and instinctively  by basking in rich harmonies and bombastic overtones pushed to the max. 

For this quarter performances, Sanders leads a group filled out by pianist William Henderson, bass player Nat Reeves, and drummer Joe Farnsworth. 

$56. 8 p.m. Sat., Oct. 14. Rialto Center for the Arts, 80 Forsyth St. NW. 404-413-9849. www.rialto.gsu.edu.


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In February of 1969, [https://pharoahsanders.wordpress.com/|Pharoah Sanders] changed the shape of jazz to come with when he unveiled the album, ''Karma''. Drop a needle on the album nearly 50 years later and the expansive, sidelong cosmic journey "The Creator Has a Master Plan' weaves a tapestry of modal, post-bop and avant-garde musical exploration the likes of which the world has yet to encounter anywhere else. It's a career-defining work that raises the bar high for both structured and free jazz performance. Now 77 years old, the tenor sax master still explores the nuances of fiery music  cosmically, spiritual, and instinctively  by basking in rich harmonies and bombastic overtones pushed to the max. 

For this quarter performances, Sanders leads a group filled out by pianist William Henderson, bass player Nat Reeves, and drummer Joe Farnsworth. 

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In February of 1969, Pharoah Sanders changed the shape of jazz to come with when he unveiled the album, Karma. Drop a needle on the album nearly 50 years later and the expansive, sidelong cosmic journey "The Creator Has a Master Plan' weaves a tapestry of modal, post-bop and avant-garde musical exploration the likes of which the world has yet to encounter anywhere else. It's a career-defining work that raises the bar high for both structured and free jazz performance. Now 77 years old, the tenor sax master still explores the nuances of fiery music  cosmically, spiritual, and instinctively  by basking in rich harmonies and bombastic overtones pushed to the max. 

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$56. 8 p.m. Sat., Oct. 14. Rialto Center for the Arts, 80 Forsyth St. NW. 404-413-9849. www.rialto.gsu.edu.


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Thursday October 5, 2017 09:58 pm EDT
The tenor sax master explores the nuances of fiery music by basking in rich harmonies and bombastic overtones pushed to the max | more...
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Show Preview

Thursday October 5, 2017 08:50 pm EDT
Damon Albarn and Co. bring the Humanz World Tour to Gwinnett County | more...