with Panther God, The Morkestra

Presented by T-Weasy and Together at Last

Feb 28

Feb 28

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $20 General Admission / $20 General

Event Information

For New Zealand native Opiuo, making music has been an undeniable passion that encapsulates his every moment. His incredibly original, against the grain style is often referred to simply as “funkadelic bass music”, a term he supports wholeheartedly. The producer who now calls Australia home first gained international recognition in 2010 with his single “Robo Booty” from his debut album “Slurp and Giggle”, which was a finalist for Best Dance/Electro Release at the Australian Independent Music Awards that year. His music has since reached the #1 position on the iTunes, Hype Machine, Beatport & Addictech charts. Racking up 5 million plays on his Soundcloud page, Opiuo swept the 2013 UK Glitch-Hop Awards with 5 wins. His latest full-length album “Meraki” was a finalist for the Best Electronica Album at the New Zealand Music Awards 2014.


Opiuo’s unique take on electronic music has captured the attention of music lovers around the entire globe, with sets at Coachella (USA), Glastonbury (UK), Shambhala (Canada), Lightning In A Bottle (USA), Boomtown Fair (UK) as well as headlining tours across Australia, New Zealand, N. America, Europe, Asia, Israel and India. He’s shared the stage with some of music’s elite including Bassnectar, Moby, Pete Tong, Bonobo, & The Glitch Mob to name a few. Whether he’s equipped with his solo setup of various drum machines and synths, or performing 100% live as The Opiuo Band, his explosive live shows never disappoint.


As a remixer Opiuo’s credits span far & wide, from Gwen Stefani to Kimbra, Pretty Lights to Infected Mushroom, KOAN Sound to Shapeshifter and many more. With such a grand scope its no wonder Opiuo’s musical meanderings are heard the world over.

Mar 1

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $0 General Admission / $0 General Admission

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The goal of wakeATL is to bring awareness to social issues and help establish a dialogue between activist organizations and the community through the use of music, visual art, literature, lectures, and workshops designed to educate, motivate, and engage each other into becoming more active in daily life.

The third installment of wakeATL : Call to Action will focus on local resistance. How can we resist the new administration on a local level? One step is to strategically place people in local seats of power including City Council and Mayor. Senator Vincent Fort will be speaking at the event about his mayoral campaign and how he is dedicated to establish Atlanta as a sanctuary city.

ATL 4 Fort and other local organizations will be providing resources and tools for anyone who is interested in becoming more active in local resistance movements as well as updates on upcoming events/protests/etc.

Performances by:
Working Class Music (ATL - hip-hop)
Man Up, Yancey (ATL - post-punk)
The Tie Dye Intellect with Ethan Lamb and CRE^TE (Columbus - live hip-hop)
and a special beat set by WAKE (ATL - experimental hip-hop)


Donations will be collected at the door.

with The Shacks, Sister Sai

Presented by Speakeasy and Tight Bros

Mar 2

Mar 2

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $15 General Admission / $15 General Admission

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Taking influence from 1960’s Thai funk – their name literally translates to “Engine Fly” in Thai – Khruangbin is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums.


Ever since their first rehearsals, Khruangbin have recorded at their spiritual home, a remote barn deep in the Texas countryside. The band listened to a lot of different types of music on the long drives out to the country but their favourites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound.


The seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune’s YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two of them to start making music together more seriously, with DJ – he and Mark have played in the same gospel band for years – the natural choice for drums.


Sharing their first recordings, Bonobo included Khruangbin’s ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories, ‘A Calf Born In Winter’ was released as a single in May 2014, four track EP ‘The Infamous Bill’ followed in October, with covers EP ‘History Of Flight’ on Record Store Day 2015. Their debut album ‘The Universe Smiles Upon You’ was released in November 2015 to widespread acclaim. 2016 is set to be an important year for the band and their rising profile with a series of international live dates planned including Festivals in the UK, Europe and US, SXSW and out on the road this May with Father John Misty supporting on his UK and European tour.


“Hypnotic, spacious, drifting soul music with a cinematic dreaminess” -The Guardian “A positive energy” – The Independent “Like a Tarantino soundtrack crossed with Curtis Mayfield. In Thailand” – The Telegraph “Intriguing Thai-influenced funk” – Mojo “A sea of sound that’s lovely to get lost in” – The Line Of Best Fit “An imaginative, inventive and sublime debut album” – Stamp The Wax “An outstanding debut” – Future Music

with The Georgia Flood

Presented by The Bowery

Mar 3

Mar 3

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $12.50 General Admission / $15 General Admission

Event Information

This guy was telling me all this stuff that no one else could possibly know,” says Dorothy Martin, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But, the weirdest part is that I had written the song before this happened.”


 


As Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label, you begin to realize the precise reason why her music is so bewitching.


No, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows, there has been nothing quite like this band before now.


We're not trying to fit into a box. We're not trying to write songs we think should be on the radio,” Martin says. “We just want to write good music. For me, the challenge is to be as honest as possible. I cannot live my life as a lie, at all. Every day, I wake up and think, 'What can I learn today and how can I give something back?' This is not selfishly motivated. The picture is bigger than me. It has nothing to do with me. It has to do with everybody. How is this going to make me better, other people better, the world better? If you don't have that, then why even do it?”


Even her contradictions make sense. She is filled with humility, yet wants to change the world. She has managed to tame any trace of an ego, yet knows instinctively she has something. In conversation, she pauses thoughtfully and expresses gratitude. On stage, she’s intimidating and maybe a little scary, but the possibility of danger that lurks inside of her music is what makes you move a little closer. It’s curiosity. You can’t take your eyes off her. But, she is the first to remind you that Dorothy might be her name, but Dorothy is a band. It is both her and not her.


“It’s like having three older brothers,” she says. “I had to magically bump into these people and it's almost like it was predetermined, or predestined. It really feels that way.”


Rounding out the quartet is drummer Dylan Howard, guitarist DJ Black and bassist Gregg. Rehearsing and touring and recording for well over a year, they’ve become a close-knit gang.


Martin is adamant about Dorothy being a group effort, but she no longer has to make that plea once you’ve heard the songs. The music they make is undeniably the sound of four, a muscular rhythm section elevated by the melodic counterpoint of guitar and vocals, all woven together into something not exactly rock, or blues, or punk, or even a combination of all three. Dorothy is its own invention, built upon familiar foundations, but sounding only like itself.


Take “Raise Hell,” a song that shuffles along with nothing less than the blues-rock audacity of a lost Led Zeppelin track. The first verse arrives and Martin upends the whole affair, floating high above the floor-stomp kick drum and slide guitar, conducting this sinister orchestra without a baton, but the singular force of her incomparable voice. Go ahead and make your comparisons, you are not wrong. This is music that belongs on the historical timeline that runs from Black Sabbath up to Rid of Me-era PJ Harvey and right through recent bands like the Dead Weather. But this is Dorothy—next on that list, written in bold, not hiding inside an overcrowded timeline.


The momentum of Dorothy’s rise speaks for itself. Just as Martin describes the formation of the band as something akin to fate, Dorothy’s recent tour in support of Miguel, Rolling Stone putting them high on their list of new bands to know, Levi’s grabbing the track “Wicked Ones” for an international campaign, and the band’s self-made clip for “After Midnight” captivating none other than the decision-makers at Jay-Z’s Roc Nation to sign the four-piece to a label not usually interested in rock bands—Dorothy’s ascent is as transcendent as that pyramid in Mexico City adorned with the flapping wings of magic butterflies. In other words, you can’t really explain it, so step aside or join in. Either way, this thing, this Dorothy, it’s coming right at you.


I'm just glad that they welcomed us and saw something special,” Martin says of signing to Roc Nation, while pondering the band’s future on the eve of their debut. “I try not to have any expectations. I'm always pushing us to be better. I'm my own toughest critic and I think this record is great. We'll just have to wait and see what the world thinks.”

Presented by Together at Last and Speakeasy

Mar 4

Mar 4

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $10 General Admission / $12 General Admission

Event Information

Supersillyus:


Robert Jacob Max is a musician and producer based in Brooklyn, His extensively layered soundscapes take listeners on melodic cinematic adventures with his solo project Supersillyus. His most recent album, Interabang, has been downloaded over 15,000 times and featured on Ektoplazm.com, the premier source for psychedelic electronic music from around the world. He has a passion for his uniquely expressive and creative brand of instrumental story telling. Exemplified not just by his multiple support performances with Visionary musicians Shpongle, Tipper, Ott but by his artistic and performance collaborations with visionary weirdos Space Jesus, Yheti, Freddy Todd, and more. In October 2012 He debuted Supersillyus Lifeband, a full band transforming Supersillyus’ music into a living breathing agent of artfully crafted psychedelic chaos.


 


Templo:
Liam Shea, aka Templo, strives to blend atmospheric soundscapes with head bobbing beats. Born and raised in Denver, Templo’s interest in music began at the age of 11 behind a drum kit. This sparked an exploration into all types of instruments and music. On his tracks you will hear all original riffs and drum beats, incorporating a variety of instruments and styles. Templo has one foot in the future with influences including Tipper, Random Rab, and Emancipator. While at the same time paying heed to the classics, attempting to emulate the sounds of J Dilla, Eek-A-Mouse, and Gorillaz. Templo’s eclectic tastes comes through in his music as he aims to blend downtempo trip-hop, funk and dub elements, with deep melodic bass. Ultimately, Templo aims to inspire creation and imagination in the music community and beyond.


A relative new comer to the music scene, Templo has seen his music evolve exponentially since its inception in 2011. Already he has shared the stage with artists such as Polish Ambassador, Random Rab, Opiou, Andrellion (Heyoka), and Vibesquad. Templo headlined his first show in 2013 at the Denver art galley Lumonics. Templo released his first album for free in 2013 and it is available for download on bandcamp.

with Lizzy Ashleigh, Kayla Steen, F.E.E.L, Alanna, Charlise J

Mar 5

Mar 5

Doors open at 6:00 pm Starts at 7:00 pm All ages

Price: $0 General Admission / $0 General Admission

Event Information

The Formula:
Lizzy Ashleigh, Kayla Steen, F.E.E.L, Alanna, Charlise J.
Hosted by Miss Yami Mami.
Sounds by Gypsy and DJ E-Boogie

with The Morkestra

Presented by The Bowery

Mar 8

Mar 8

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $13 General Admission / $15 General Admission

Event Information

“It’s surprising this record even got made,” bass player and songwriter Kristian Dunn reflects. “[Drummer] Tim’s dad died just before the recording was to begin. Obviously he needed to go back to Pittsburgh to be with his family. He returned to California relatively quickly, ready to work, and then I was struck with serious food poisoning.”


As soon as one band member in the duo was ready to work, it seemed the other had something come up. Even their engineer, Chris Cheney, had to leave in the middle of recording to go DJ for the Arizona Diamondbacks baseball team. Deadlines were rapidly approaching and the record wasn’t finished. “It was stressful, but it seemed to all work out,” Tim Fogarty adds.


Appropriately, the record is all about family and the connection between parent and child. Opening with “Point Breeze” (an area in Pittsburgh in which Tim’s dad used to hang out when young) and moving right into “Scott Township” (an area of Pittsburgh where Fogarty did the same), the record is alive with sounds both futuristic and anachronistic.


The album is full of parental nods. “’Fast Forward’ is a band name my dad would always suggest when I was starting new bands in high school. I thought it was stupid and would blow him off! Now I actually think it’s cool. It really represents something that is old, but also forward looking and inventive.” Dunn explains. “Peter and Jack” is a thank you to father and son team Peter Hook (of New Order and Joy Division) and Jack Bates who, after playing some shows with El Ten Eleven, suggested to Dunn that he employ one of the six string basses they were using.


“Not to exaggerate, but the effect those two had on El Ten Eleven is sort of incalculable. I wouldn’t have even considered the Bass VI if it weren’t for them. And the direction of the band definitely changed because of it,” Dunn says.


The record was written at their homes and practice studio in Atwater Village, and recorded with Cheney at Costa Mesa Recording Studio in Costa Mesa, CA. Dunn and Fogarty are the only musicians that appear on Fast Forward; everything you hear was done by the two of them using two basses, electronic drums, acoustic drums, and myriad looping pedals and effects.


While most artists use looping technology improvisationally, Dunn and Fogarty see the loopers themselves as another instrument. Over a decade plus together they’ve attained hard-won virtuosity with the devices, and can now concentrate on songwriting itself rather than logistics. “Nothing we do is improvised” explains Dunn. “When we first started playing shows we’d sometimes run into troubles with the loops and have to stop and retry songs!”


“It’s almost like our rig itself is an instrument we’ve had to master,” he continues. “I’ll loop Tim’s electronic drums with one of my pedals while looping my own bassline, then switch to my six string bass midsong while he moves to playing acoustic drums, layering up the sonics and shaping the song as it all grows.” By refusing to use anything pre-recorded live they’ve pushed themselves into new territory, now able to deftly recreate their complex compositions nightly.


In the end, of course, it all comes back to family; from Dunn and Fogarty’s own parents to Hook and Bates, to their own growing families. Dunn discloses, “I didn’t come up with the artwork just because I thought it looked cool. The triangle on the front represents the connection between my wife, daughter and me, but if you look closely, it isn’t actually there. Your mind creates that triangle. And that is symbolic of the family connection, always there, even if not physically.”


More dedications round out the record: “JD” (Tim’s dad), “We Lost A Giant” (a phrase used by a Pittsburgh Steelers radio announcer to describe Tim’s dad) and “Be Kind, Rewind” (a plea for respect for one’s ancestors).


“I’m so relieved this record is finished.  It was a lot of work… like family!” laughs Dunn.

with Futexture, Shanti

Presented by Aisle 5, Together At Last, and Speakeasy

Mar 9

Mar 9

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $13 General Admission / $15 General Admission

Event Information

 


Govinda is the alter-ego of Austin based producer/composer Shane Madden. He began studying violin and composition at the age of eight and went on to study classical violin at the University of Texas where he fell in love with electronic music production. It was in Madden’s pursuit of his gypsy roots that he opened his ears to music from around the world. From experiences learning violin with mysterious masters on his journeys across the globe and his passion for modern design and technology, the current sound of Govinda was born.

Govinda has played with Thievery Corporation, Tipper, Bassnectar, Shpongle, Cheb I Sabbah, STS9 and many more and been featured on over 25 compilations such as Buddha Bar II, Asian Travels II, and Nirvana Lounge selling a combined 400,000 copies. Govinda has played at numerous festivals throughout North America including Coachella, Lightning in a Bottle, Lights All Night, Euphoria, Sea of Dreams, Camp Bisco, SXSW and many more. Govinda's music has been on TV including stations like WB, MTV and Bravo as well as many independent films.

The Govinda live show immerses the audience with a textured atmosphere of exotic, dubby vibrations interwoven with cosmic visual projections, world class dancers and mesmerizing vocals- all to the magic of his live electronics and violin.


 


 

Mar 10

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $12 General Admission / $15 General Admission

with Chaos Chaos

Presented by The Bowery

Mar 11

Mar 11

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $14 General Admission / $16 General Admission

Event Information

Asa Taccone needed to come back to himself. After years of grinding towards a dream, the Electric Guest frontman and his musical partner, Matthew Compton, finally achieved breakout success with their 2012 debut, ‘Mondo.’ Recorded with longtime friend and mentor Danger Mouse, the album was an unqualified success, but for all the benefits that came from working with an established producer, Taccone wanted to know who he was independently. Rather than lose himself in some idea of success, he wanted to define himself on his own, so he quietly recorded a left-turn of a follow-up album alone in his bedroom. It was a somber reflection of a particularly difficult stretch of life. He pored over every detail, stressed over every sound and syllable, and then, when it was finished, he threw it away. “It kind of broke me down mentally,” reflects Taccone, “Nobody liked it, not the few people who’s opinions I trust, not the label-& after sitting with it-i realized it was garbage too,” “ but the great thing about it was that it inspired me to get me back to what music used to be for me: intuitive, and not over-intellectualized. Once I scrapped that record, a completely different album emerged really quickly and naturally & I love it so much more.” Enter ‘Plural,’ a record that finds Taccone and Compton at the absolute top of their game, infusing their version of electronic r&b with an even more confident, adventurous spirit than ‘Mondo’ displayed. And that’s saying something, because ‘Mondo’ was a life-changer for the band. Rolling Stone called it “a Beck-ian journey into L.A. slacker soul, full of hooky neon jams,” while Entertainment Weekly hailed its “winking falsetto and retro swagger,” and The Guardian praised its “soulful, funked-up pop.” Lead single “This Head I Hold” was featured in an NFL Super Bowl commercial, while other tunes turned up in soundtracks everywhere from ‘Girls’ to ‘Suits.’ MTV named Electric Guest an Artist To Watch, NME tagged them as a Band Of The Week, and they made the rounds at festivals from Bonnaroo to Outside Lands in addition to taking late night TV by storm with electrifying performances on Letterman, Fallon, Conan, and more. When it came to record ‘Plural,’ Taccone forced himself to simplify and look for the joy in writing and recording that had inspired the band’s debut. “I just realized that working quickly and intuitively is part of the magic of making music,” says Taccone. “I think a lot of music suffers when people get into a studio and feel like the process has to be this heady thing. When you go in with expectations, it wears down the levity and the fluidity that the natural process should have. And that’s not to say there weren’t songs on this record that were puzzles we had to figure out, but making music is supposed to be fun, and it was important for us to get back to that.” “I think we found that it’s better to record all of your initial ideas quickly and then spend more time whittling them down to the most important components,” adds Compton. “While we were making the new album I found myself being influenced by things that were very simple but rich in texture and still posses an emotional payoff.” Emotional payoffs are Electric Guest’s specialty, and the freewheeling sense of looseness Taccone rediscovered resulted in several off-the-cuff collaborations, including impromptu Joanna Newsom and the Haim sisters. It also led to a new level of comfort both at the mixing board and behind the microphone.


“The last album had lot more falsetto vocals,” says Taccone, “but on this one I decided I was going to sing in my regular voice. I had to learn to be OK with the way my voice sounded because I’ve struggled with disliking the sound of my voice.” The record opens with “Zero,” a bouncing, piano-driven banger that sets the stage for Electric Guest’s off-kilter blend of electronic music, r&b, and pop. It’s a sonic mélange that sounds as if it’s from both the past and the future, and the band’s recording environments often reflect that. “Dear To Me” (which features the Haim girls) layers up vintage synthesizers from the 70’s and 80’s into an irresistible, analog jam, while the dance-floor-ready “Back and Forth” was recorded in a 14- hour marathon fueled by Taccone’s first experience with MDMA, and “Glorious Warrior” is built on top of an iPhone simulating a drum machine. “I think we tried to create a different palette of sounds and styles than what you heard on ‘Mondo,’ says Compton. “Most of the sounds we ended up liking this time were more modern and less throwback. Music has changed quite a bit since our last album came out, and I think we embraced that rather than shy away from it.” Lyrically, the album tackles difficult times with a determined optimism, “I”ve seen the light in you before / I’ll see the light again” he sings on “See The Light,” while “Over” and “My Omen” dig down deep within to find the strength to carry on. The slow-burning “Hold On” came out of writing sessions for the French artist Charlotte Gainsbourg, and “Oh Devil,” which draws influence from Latin and Caribbean sounds, was born from time the boys spent in Mexico.


“I wrote Devil in Mexico. We were in Baja on the beach and a man in a homemade airplane landed about a hundred yards from us,” says Taccone. ” I offered him $40 to take me on a ride over the ocean. We flew over the coastline for about 15 minutes, and later that night, I bought a candle with a depiction of the patron saint of death and spent a long time just looking at it. At that time, I was making a lot of mistakes in life, and the song is about having to make peace with your devil because he’s always going to resurface at some point.” Taccone’s faced down his devil, and he emerges on ‘Plural’ much stronger for having done it. By searching within, he found the courage to begin again, he stopped overthinking and second- guessing and tapped into the truest part of his self, pure and unfiltered. He wrote these songs in an effort to figure out who he was. With an album this good, it won’t be long before the rest of the world figures out who Electric Guest is, too.

with Bearface

Presented by The Bowery

Mar 12

Mar 12

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $12 General Admission / $15 General Admission

Event Information

Kevin Abstract


Bearface

Sunday March 12 at Aisle 5

At the young age of 17 after high school, Kevin Abstract made the bold decision to run away to Texas in search of hope & friendship. Brockhampton was born thereafter. Kevin Abstract is the de facto leader of the hip-hop boyband Brockhampton. He recently left his home state of Texas, moving to Los Angeles along with his Brockhampton compatriots. At the young age of 20, he has already developed a concrete image both on stage and online and is commanding attention due to his progressive music as well as his carefully curated visual presentation. Befriending The Neighbourhood shipped him across the pond to koin them in the UK before being asked to join the US dates. Leading up to the release, Kevin shared a cinematic visual for his single "Empty" that spread rapidly online and gained the attention of fans and critics alike. Earlier last month, Kevin shared his deeply personal song "Miserable America" which earned him praise from The New York Times. A week before the album, Kevin performed new songs at Tyler, the Creator's Camp Flog Gnaw Carnival with an intricate stage set up including cheerleaders in uniform and kids sitting on bleachers reminiscent of a high school gym. Leading up to the album's release, Kevin recently spoke with The Fader for a Gen F feature. After releasing his acclaimed mixtape MTV1987 in 2014 with right hand man & producer Romil, he set out to make his followup - working tediously on any versions of what turned into his debut album. Citing influences like Kid Cudi & Tyler, The Creator,  Abstract's ability to champion and relate to those whom have been fortunate enough to discover  him through his unique approach of transparency and honesty with fans will continue to allow himself to propel his impactful & progressive album to audiences and news fans alike in 2017.

Mar 15

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $7 General Admission / $10 General Admission

with Alexis Roberts, Felixx, Angel Brown

Mar 16

Mar 16

Doors open at 8:00 pm Starts at 8:00 pm All ages

Price: $15 General Admission / $18 General Admission

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Angel Brown
A singer/songwriter from Aiken, South Carolina by way of Augusta, Georgia. Angel has recently released an EP entitled "Love, Lust, & BreakUps". Along with being a solo artist, Angel is the lead singer for the band ATL Dreamvision, which is based out of Augusta, Georgia. She is influenced by many great artists such as Jill Scott, Aretha Franklin, Erykah Badu, Chaka Khan, and Prince. Angel has no limit when it comes to range and composition. She is a singer that can engage the crowd and keep everyone on their feet.



Felixx
To understand Felixx, one must know that he marches to the beat of his own rhythmic drum. Rich harmonies, thick melodies, and sensual lyrics is the only way to describe his unique sound. Groomed from an early age to be a southern gentleman, the Monroe, Georgia-native has mastered the art of distinction. A classically trained singer with influential energy from Mozart, Calvin Richardson, Prince, Anthony Hamilton, and Miguel, the R&B crooner is one of the few artists today to make records incorporating live instrumentation and does so with convincing passion. His moniker, taken from his birth name Felix with the addition of an “x,” refers to his “Clark Kent” ability to effortlessly transition from one genre to another while remaining GQ smooth. Felixx has opened for artists such as Babyface, Jagged Edge, Tamia, Sheila E, and more. His talent has also received the attention of various A&Rs and labels, as well as, scouts on American Idol, America's Got Talent, and The Voice. Staying dedicated to sharpening his skills as an all-around performer, Felixx has spent the past year finding and perfecting his sound. He has worked with a few industry vets such as Jan Smith, Jazze Pha, and Debra Killings. He is currently working on a R&B mixtape set to release in early March.


 


 


Alexis Roberts
From the suburbs of Atlanta's Northside comes Alexis Roberts, a singer/song-writer/guitarist keen on authenticity. She draws a line so fine between her own personal ideologies and the melodies fluttering around within her mind that the music made and released under her government name drips with transparency.

Presented by Speakeasy and Together at Last

Mar 18

Mar 18

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $15 General Admission

Event Information

EPROM (USA) and Alix Perez (Belgium/UK) are SHADES. 

 

Eprom gained his well-deserved success through his innovative take on bass music, a unique sound that has the likes of Gaslamp Killer, Kutmah, D-Styles singing his praises and supporting his music.

 

Perez found his rise to fame in drum n bass, releasing on Shogun Audio, Exit Recordings amongst many other labels and collaborating with the foremost names in dance and electronic music such as Noisia, Foreign Beggars, dBridge, and many more.

 

SHADES exemplifies slanted grooves, a deep pocket and hard yet graceful composition. The debut self-titled EP (released on Alpha Pup) is a truly unique body of work. 

 

Aware of each other's music for some time before meeting, Perez and Eprom first crossed paths at the 2013/2014 Northern Bass festival in New Zealand. The following summer they met again at the Red Bull Studios LA producing the Foreign Beggars’ Modus EP. This initial studio session led to further collaborations and SHADES was born. 

 

XLR8R have rightly said “music that's not only a legitimate full-frontal assault in the same vein as tunes from that golden era of gluttonous bass and synths, but that embraces that ethos while giving it a more polished feel”.

Mar 20

Doors open at 8:00 pm Starts at 9:00 pm All ages

Price: $10 General Admission / $12 General Admission

with Blaise Moore

Presented by The Bowery

Mar 21

Mar 21

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $15 General Admission / $15 General Admission

Event Information

Expansive yet exactingly nuanced, hypnotic yet uncompromisingly complex, The Japanese House offers up timeless synth-pop whose layered vocals and lavish textures unfold into infinite dimensions of feeling. In each track, East London-based artist Amber Bain charts such terrain as the pain of shattered relationships, the growth that comes from moving solitarily through life-changing experience, and the newfound lucidity that ultimately follows. A perfectly fitting moniker for music so dreamlike, transcendent, and defiant of all convention, The Japanese House references the Bain family nickname for their vacation home in Cornwall. While staying in that home at age eight, Amber developed a crush on the girl next door. By tucking her hair inside her hat, she soon led her crush into mistaking her for a boy, and within days the girl was sending Amber love letters. The follow-up to 2015’s much-acclaimed Clean, The Japanese House’s new EP Swim Against the Tide delves into memory and loss and love of all kinds. Written by Amber Bain and produced by the 21-year-old in collaboration with labelmate George Daniel of The 1975, the EP reveals the emotional intricacy of The Japanese House in songs like lead single “Face Like Thunder.” The track offsets its bright beats and radiant melodies with Amber’s painfully poignant lyrics (“I kiss the floor, curled up in a ball/There’s nothing coming out of my mouth, so I said nothing at all”), brilliantly rendering “Face Like Thunder” both heavy-hearted and hopeful. Another luminous moment, “Good side in” matches Amber’s ethereal vocals with her mesmerizing guitar work. On “Leon,” meanwhile, Amber proves her lyrical ingenuity by spinning a narrative inspired by the film of the same name. “I got obsessed with how, in the original script, Natalie Portman and Leon are meant to have sex,” notes Amber. “The song is about her when she’s older. Leon is dead. She’s found another guy and doesn’t really give a shit about him. She has a child, but her life is really boring.” And on Swim Against the Tide’s powerful title track, the many interconnected stories informing the work of The Japanese House become unified at last. “It’s about losing someone in a number of ways: literally losing them, and having someone fading through your life, then coming back. It’s about them literally being a presence in your head,” explains Amber. In the end, she continues, “Swim Against the Tide” strives to examine “the pain of falling for someone—and how the feeling of losing someone, loving them, and them dying are all kind of the same feelings.” Born and raised in Buckinghamshire, Amber began exploring her musicality by playing guitar with her father as a child. Learning to play on a right-handed acoustic—despite being left-landed—Amber quickly became entrenched in the long-enduring art of The Beatles, Frankie Valli and the Four Seasons, and—perhaps most crucially—Brian Wilson of The Beach Boys. Such artists played a central role in shaping Amber’s timeless sense of songcraft, as well as the singular melodic sensibilities that make her music so captivating. Released in 2015, The Japanese House’s debut EP Pools to Bathe In features the beautifully devastating debut single “Still,” which holds the distinction of being Zane Lowe’s last-ever Hottest Record on Radio 1. Written after the end of Amber’s first relationship, “Still” illuminates the fragility that lies in directing your heart, and someone else’s, into the unknown. With its delicate meditation on both commitment and loss, the song also reflects on the jarring phenomenon of continuing to feel connected even after breaking up. “We went on holiday together afterwards as we’d already booked tickets,” Amber points out. “I still really loved them.” In all her musical output, Amber shows a supreme clarity of vision that extends to the visual element of her artistry. To that end, she’s traveled to Morocco and Iceland and Los Angeles to take photos for all three of her EPs, essentially serving as creative director for The Japanese House. With her journeys around the world also including tours with acts like The 1975, The Japanese House is now set for a headlining tour of the U.S. and Europe.

Presented by The Bowery

Mar 22

Mar 22

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $10 General Admission / $12 General Admission

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For New York duo SOFI TUKKER, comprised of Sophie Hawley-Weld and Tucker Halpern, these words are not just a guiding life principle, but how they measure the music they create. SOFI TUKKER’s “holy trinity,” as they describe it, is movement, community, and joy. Despite their yin-and-yang dynamic and coming from different worlds, the pair shares a deep-rooted spiritual connection around their music.


Halpern was on track to become a professional basketball player, focusing on NCAA stardom and training, before health problems put his athletic dreams on hold and caused his plans to take a serendipitous turn. While recuperating and on bed rest for nine months, Halpern taught himself how to produce electronic music and DJ, adding to the musical skills he had developed in numerous bands during his grade school years.


Hawley-Weld is something of a renaissance woman. Born in Germany, spending her youth in rural Canada and Italy, her international background sparked studies in International development, Brazilian poetry, yoga, and even West African drums and music. As soon as Tucker and Sophie first met, when Halpern stumbled upon Hawley-Weld singing bossa nova in a warehouse, they instantly jumped at the chance to collaborate.


Around this time, Tucker earned a gig supporting NY dance outfit The Knocks, who eventually helped nurture their early demos. “They became instant family, and encouraged us to pursue the collaboration for real,” Tucker recalls. Sophie and Tucker immediately made the jump to New York City and began working on their debut EP at the Knocks’ HeavyRoc Studios. That first week, they penned their debut single “Drinkee,” an instant viral smash that features Portuguese lyrics by Brazilian poet Chacal, now a friend of the group. After putting the track up on Soundcloud, “Drinkee” quickly topped the Spotify viral charts in South America and Europe, popped up on radio stations in countries the band had never visited, and perhaps most prominently featured as the soundtrack to the latest Apple Watch campaign.


Sophie and Tucker also set their sights on putting together a live show, which combines the duo’s unique personalities, instrumental skills, and their need to get a room full of people dancing. In their short live career, they have appeared at everything from Fashion Week to Art Basel to the CMJ Music Marathon, and are set to take their show across the USA and the globe later in the year.


The band has just finished their debut EP. The title, “Soft Animals,” is a nod to poet Mary Oliver. Their second track, “Matadora,” premiered the first week of 2016 on Apple’s world-spanning Beats 1 radio and cutting-edge NYC music bible the FADER, and topped the Hype Machine Popular chart before the track was even 3 days old. The EP promises a number of surprises, and shows Sophie and Tucker have created one of the most unique sounds the music community has heard in years – a heady cocktail that blends global instrumentation with modern technology, while sounding anything but machine-made. People have tried to categorize them, but nobody can seem to agree what box to put them in. That suits them just fine.

with Ployd and Zen Selekta

Mar 23

Mar 23

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $12 General Admission / $12 General Admission

with Thrice Groove

Mar 24

Mar 24

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $10 General Admission

Presented by Speakeasy Promotions

Mar 25

Mar 25

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $12 General Admission

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St. Beauty
St. Beauty is the soulful love-child of Alex Belle and Isis V.


Both born and raised in Atlanta— a rarity in the ‘Melting Pot of the South’— Alex and Isis met in College Park while working at a vintage store, and it’s there that they discovered a shared passion for songwriting and performing.


 


This is where St. Beauty was born, performing together for the first time at a showcase in the store’s basement, uniting Alex’s melodic sensibilities with Isis’ nimble guitar skills.


Layering honey-drenched melodies that linger with truthful lyrics that explore the emotional depths of life and love, their songs deliver a richness and raw expression that is unparalleled.


A sound like no other.


A sound that is St. Beauty.

Anna Wise
Anna Wise is a Grammy Award winning singer, songwriter, and performer based in Brooklyn, NY. Anna has garnered a dedicated following amongst musicians and music fans alike ever since her collaborations with Kendrick Lamar on good kid, m.A.A.d city (“Real,” “Bitch Don’t Kill My Vibe,” “Money Trees”), To Pimp a Butterfly (“These Walls,” “Institutionalized”) & untitled unmastered ("untitled 01 | 08.19.2014." & "untitled 05 | 09.21.2014."). Their song “These Walls” won the Grammy Award for Best Rap/Sung Collaboration at the 2016 Grammy’s.


 


In 2016 Anna entered into a different light, self releasing her first solo project, The Feminine: Act I. The EP, described as both outspoken and therapeutic, lead Vogue to describe Anna as "Trailblazing Feminist Pop".


 


As a staunch supporter of independent artists in the entertainment industry, Anna is hands on with other mediums as well, creating works of video, photo and other various design to accompany her music. Anna also performs alongside her band, Sonnymoon, with whom she has released three albums, Golden Age, Sonnymoon, and The Courage of Present Times. Anna has shared the stage with artists such as Kendrick Lamar, Kimbra, The Roots, Third Story, Givers, Flying Lotus, Bilal, Teebs, Tei Shi, and more.


 


In 2017, Anna continues her story with The Feminine: Act II. Available Soon.

Mar 30

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $10 General Admission / $15 General Admission

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WALDO
Kamron Trenard Robinson (born August 26, 1992) is an American rapper, songwriter and performer. Infamously known by his fans as “Waldo.”


Originally from Grand Rapids, Michigan and member of hip-hop collective AGO. The reigning champ has impressively out-performed and consistently released a wide collection of music reaching an international audience of millions. At the young age of 17 he dropped his debut project titled, "Runnin' On Empty,” in 2009, and he was just getting started.


He did it again, in 2010, with “Where's Waldo?” his sophomore EP. Invoking the feeling one gets when discovering heat before all your friends, who won’t even know what hit them. Much less who, when, or where… and well that’s Waldo’s thing. No one really knows exactly where, at any given moment but the beat always drops. Harshly.


Following with “Pick Your Own Poison,” in 2011. The steady hit list grew in his wisest collaboration to date (at the time) with up-and-coming label, “Soulection.” Which has since ascended to legendary ranks amongst digitized audiences of cool kids aka “sauce testers.”


Next he whipped up “NSDE/OUTSDE” with another fan-favorite partnership in 2013. This time with super-producer “Sango,” at helm. Shortly after, in 2014, “Until Then” premiered on “The Fader.” Another popular industry light saber. His latest project, “Be Ever Wonderful,” sparked an international tour that set Waldo and wizardly producer “The SEVENth” across the countryside during the 4th Quarter of 2016.


All while remaining independent as an artist. A very rare feat indeed.


Flames that been lit, stay lit and never go out. So, in Waldo’s case there’s no need for a warm-up. Seemingly he was born to do this.



JAMES LEWIS
James Lewis has established himself as an all around recording artist. As a native of Grand Rapids, MI, he plans to leave his imprint on the game by reviving hip-hop as an art form.


In 2012, James decided to make a change by traveling to Atlanta, GA to pursue a better future. His first stake in that claim was the "Who Am I" EP with the breakout single "Fame" followed by the infamous "Forget To Forgive". James gained his first major exposure in the WWS Magazine


as one of the top indie artist of 2012. With the release of his singles, "The Revolution" and "Fallen Ashes" from his highly anticipated album, For H.E.R., he has shown the world that he brings more to the table than just rhymes. Today, he joins forces with WERC Crew, a collective that are quickly making an imprint on the new sound of Atlanta. With the release of the single "Pulp Fiction" James has catapulted his way to a bigger audience.



CHEEZ WEEZ
Grand Rapids designer & stage taker, CHEEZE WEEZ has been creating avenues for years. With being the co-founder of BMG, as well as his personal brand Parachute Gear Cheeze has been on a mission to remain uncategorized yet a well defined artist.


Working with a few mainstream artists opening for legends like Warren G, Kid Ink, MGK and sharing the stage with so many more has his music views over 10 thousand on Worldstar Hip Hop as well as YouTube


Launching his career as a musician has sparked love and loyalty amongst many artist and teaming up with venues performing and promoting in and outside of his city. Granting him the nudge of "go ahead" when he takes the stage, he wears his brand on his chest and Skrilla on his back. Staying true to his hustle while staying focused on the next-best move has the artists' music found on multiple music outlets, streaming on Apple Music, Spotify, Google Play and so on.


Recently linking up with local native Vee Tha Rula and creating his hit single "Reppin Time" has him reaching accomplishments for not only himself, but the whole Grand Rapids community. Gaining momentum and knowing the stakes pushes him to identify himself with real moves and solid work, while leaving a legacy with every step and breath on the mic. What's next???



The SEVENth
Marching to the beat of his own drum. That’s typically the vibe one gets when meeting The SEVENth - the artist, producer, and co-founder of AGO Music Group. To date, despite being born and raised in a small city (Grand Rapids, Michigan), the self proclaimed audio wizard has managed to tour 8 different countries, have his work featured on/in outlets like Fader, Complex, FX!, & Afropunk, along with reaching a combined audience of millions via online streaming.


“No build up needed...”, was said by Pigeons and Planes about The SEVENth’s song On The Table, which is the lead single off his collaborative tape with clothing line/Record Label Mishka NYC, titled Weekend Sin. Handling most of his production and recording, The SEVENth channels sound with a solid mixture of unique vocals and bass heavy grooves, just enough to hold down the bouncing synths that move along as do the lyrics when being delivered.


On the outskirts of the industry, setting himself apart from his counterparts, The SEVENth is creating a musical nesting-ground in his audience’s ears. Or to put it differently, making music like that of a body of water here to stay rather than simply making a wave.

Mar 31

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $12 General Admission

Presented by Speakeasy Promotions

Apr 1

Apr 1

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $16 General Admission / $20 General Admission / $20 General Admission / $65 Meet & Greet Package Admission

Event Information

Devin Copeland (born June 4, 1970),better known by his stage name Devin the Dude, is a Houston hip hop artist who started out as a member of the Odd Squad, later known as the Coughee Brothaz, a group of rappers signed to Rap-A-Lot Records.

The label is notable for being the home of hip-hop artists such as Geto Boys, Scarface, and Too Much Trouble. Devin Copeland moved on to become part of Scarface's Facemob, who is also a member of the Coughee Brothaz, before going solo in 1998.

Copeland has released six solo albums: “The Dude” 1998), “Just Tryin' ta Live” (2002), “To tha X-Treme” (2004), “Waitin' to Inhale” (2007), “Landing Gear” (2008), and “Suite 420” (2010). He also made a number of guest appearances, including on Dr. Dre's "Fuck You" in 1999, and De La Soul's "Baby Phat" in 2001, and on Tech N9ne's "After Party" 2010 off of The Gates Mixed Plate.

In 2008, he ended his 15 year relationship with Houston based Rap-A-Lot Records after he decided not to renew his contract. Later that year, he signed with indie label Razor & Tie. Devin is currently being distributed by E1 Entertainment, formerly Koch. Despite being a critical success, Devin the Dude has not achieved success in the mainstream but continues to be a well-known underground hip-hop artist. The “New York Times” has called him "A brilliant oddball with a spaced-out flow."

In addition, he has been called "Rap's best-kept secret" and "Your favorite rapper's favorite rapper." In 2007, he appeared in a documentary titled “Screwed In Houston” produced by VBS/Vice Magazine that details the history of the Houston rap scene.

Presented by Speakeasy Promotions

Apr 4

Apr 4

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $17 General Admission / $20 General Admission

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“There isn’t a handy term or genre for the music that Kneebody creates. It’s a band thoroughly acquainted with 1960s free-bop, 1970s jazz rock, 1990s hip-hop and postmillennial indie rock; along with classical postminimalism. (I’m leaving something out, I’m sure.) Whatever the terminology, this group has an audience…”
NEW YORK TIMES


“Putting a finger on a band like Kneebody is a bit like raising it to the wind. At any given moment,
the group’s artistic inclinations can whip in an unpredictable direction.”
WALL STREET JOURNAL


“…the band has always had the same lineup, honing its vision into something that hovers in the worlds of jazz and rock while tossing in other genre elements, as well.”
SPINNER


“It’s probably safe to assume at this point that no other band working today can offer what Kneebody delivered at the Blue Whale on Friday night.”
LOS ANGELES TIMES


Kneebody‘s sound is… explosive rock energy paralleled with high-level nuanced chamber ensemble playing, with highly wrought compositions that are balanced with adventurous no-holds-barred improvising. All “sounds-like” references can be set aside; this band has created a genre and style all its own.


Kneebody bassist Kaveh Rastegar thinks of their sound this way, “Personally, I think calling Kneebody “jazz” or “electric jazz” is fantastic because then we can move on from that hang up and play our music — and alter expectations of what ‘jazz’ is.”


Kneebody is keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood. The band has no leader or rather, each member is the leader; they’ve developed their own musical language, inventing a unique cueing system that allows them each to change the tempo, key, style, and more in an instant.


The quintet met in their late teens while at The Eastman School of Music and Cal Arts, became fast friends, and converged together as Kneebody amid the vibrant and eclectic   music scene of Los Angeles in 2001. Since then, each band member has amassed an impressive list of credits and accomplishments over the years all while the band has continued to thrive and grow in reputation, solidifying a fan base around the world.


“We are a democratic, equally owned-and-operated band with shared leadership,” says Shane Endsley. “Everyone brings in music and everyone votes on everything. And it’s always been just the five of us.”


Kneebody draws upon influences spanning D’Angelo’s Voodoo to music by Elliot Smith, Bill Frisell, and Miles Davis. Their live shows are known for intense sonic landscapes of the Radiohead ilk, for the rhythmic bombast of a Squarepusher or Queens of the Stone Age show, and the harmonic depth and improvisational freedom experienced at a Brad Mehldau concert.


In 2005, Kneebody released their debut self-titled album Kneebody on Dave Douglas’ Greenleaf Music Label. Low Electrical Worker followed in 2007 on the Colortone Label. A collection of 13 original songs, Low Electrical Worker was hailed by saxophonist Joshua Redman as one of his “favorite albums of 2007.” In the spring of 2009, Kneebody and vocalist Theo Bleckmann released 12 Songs of Charles Ives on the Winter & Winter label and received a GRAMMY nomination in the “classical crossover” category. 2013 saw the release of The Line for Concord Records. In 2015, Kneebody's groundbreaking collaboration with electronic musician Daedelus on Kneedelus was released on Flying Lotus’ imprint Brainfeeder records to praise from critics and audiences alike. Kneebody looks forward to their debut release Anti-Hero on Motéma Records in 2017.

Apr 6

Doors open at 8:00 pm Starts at 9:00 pm All ages

Price: $10 General Admission / $10 General Admission

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Pabst Blue Ribbon & Stoney's Barbershop present a momentous evening of Hip Hop music, theater & comedy w/ the 3rd installment
of the Lyricist Lounge Sketch Show.
Due to the very special guests we have on deck, it seemed oh so fitting to call this fother mucker the Dungeon Edition!!!

If you missed the first 2 Lyricist Lounge Sketch Shows, we doing ALL dat good stuff again as well as bustin out some NEW sketches.

C'mon thru & enjoy a wonderful night of entertainment in the ATL...

Featuring:
4-IZE
Boog Brown
Headkrack
George U-George Moolenaar

w/
DJ Rasta Root
Slimm Calhoun (Dungeon Family)
MICxSIC
Cool Breeze (Dungeon Family)
Amauri The Great
Backbone Dungeon Familys Own
Dj Majestik Aka Skenny Kravitz
Big Ruben (Dungeon Family)
Morgan The Mexican

$10 admission | Doors @8pm | Show @9:30pm

...First ones to ever place a sketch to a beat...

SHOW HISTORY
“The Lyricist Lounge Show” debuted on MTV Networks in the winter of 2000, merging Hip-Hop music and sketch comedy performance in a way never before achieved.

***Thanks to our sponsors***
Pabst Blue Ribbon
Stoneys barber shop
Beatlab ATL
Creative Loafing Atlanta
Edgewood Pizza
Speakeasy Promotions
Savage Fam PRO
6 Rings Music Group
Working Class Music
Rabb Love Guerrilla Republik Original 1
BV Mobile Apps
NWO Media and Design Co.

with Latasha Alcindor

Presented by Speakeasy Promotions

Apr 8

Apr 8

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $12 General Admission / $12 General Admission

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Homeboy Sandman's favorite song is "Knocks Me off My Feet" by Stevie Wonder. His second favorite song is "I Know You, I Live You" by Chaka Khan. His favorite Michael Jackson song is "Lady in My Life". He prefers Low End Theory to Midnight Marauders, but adores both.

with Kembe X

Presented by Speakeasy Promotions

Apr 12

Apr 12

Doors open at 8:00 pm Starts at 9:00 pm All ages

Price: $12 General Admission / $15 General Admission

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Since the May, 2013 release of his debut mixtape, Club Wiley, Alex Wiley has been winning over fans and critics, emerging as an exciting and talented new artist. While he flew somewhat under the radar as he found and developed his own sound, Alex Wiley is quickly garnering the spotlight as well as finding comfort in his music and identity as an artist. His growth and sense of discovery is reflected in his music as well as how he connects with listeners.

“I wanna make someone feel the way I felt when I heard Kanye or Cudi for the first time,” Wiley says about his music, most specifically his 2014 release, Village Party. His intentions shine through not only in how he makes music, but also how it’s released.

Alex routinely sends his music out directly to his most engaged fans before it is released to the general public or the press.

Since the start of 2014 Alex Wiley has been nominated for XXL’s Freshman list, deemed an artist to watch by The Huffington Post, and performed at taste maker & Hot 97 host Peter Rosenberg’s showcase at SXSW. He has been deemed Chicago’s “best kept secret” by Revolt TV, and identified as an artist on the verge of breaking out by the Chicago Reader, The Redeye, as well as Chicago Magazine.

Apr 14

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 Early Bird / $12 General Admission / $15 General Admission

with Laura Gibson

Presented by The Bowery

Apr 28

Apr 28

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $16 General Admission / $18 General Admission

Event Information

Like previous Clap Your Hands Say Yeah records, The Tourist nods to Ounsworth’s musical heroes—a group that includes artists such as John Cale, Robert Wyatt, Tom Waits and Nick Cave. However, this album also shows a natural progression from previous records. “Better Off” and “The Vanity Of Trying” are lush, keyboard-augmented songs, while “A Chance To Cure” and “Ambulance Chaser” are rhythmically askew, and the sighing “Loose Ends” is delicate, acoustic-based folk-rock.


The Tourist emerged from a period where Ounsworth was doing a lot of intense soul-searching, and processing personal events that irrevocably shaped his life and future. But although most of these songs came together during this time of reflection, he considers the record to be cathartic—an exhale of sorts, rather than a collection of songs where he was indulging in self-pity or letting things stagnate or fester.


Appropriately, The Tourist’s lyrics reflect how complex upheaval can be (“We can beat around this bush together/Sometimes it’s all I think of/Other times I can forget”) and explore the imperfect nature of blame (“The car left the road and was found without its mirrors/You play the victim/And I’ll play the blind man”). Other songs try to make sense of the present time (“Now that the past is on fire/How can I look around and find I can’t remember who I was”) or employ clever wordplay— “Black cat let’s not split hairs/I’m tethered to the weather/I assure I don’t care about no lucky streak”—for effect.


Ounsworth spent about a week recording The Tourist at Dr. Dog’s Philadelphia-based studio with a drummer and bassist. After that, he and engineer Nick Krill spent a few months “tidying things up” and recording additional embellishments: backup vocals, keyboards, guitars and more percussion. That gives The Tourist more of a band feel than the last album, and contributes to why the record possesses a musical lightness. The dreamy opening track “The Pilot” especially has a lilting edge, courtesy of Smiths-reminiscent acoustic guitars strums and Ounsworth’s hiccupping, conspiratorial vocals.


The Tourist was then mixed by Dave Fridmann, who also worked on two previous Clap Your Hands Say Yeah albums, 2007’s Some Loud Thunder and 2014’s Only Run. Ounsworth says he and Fridmann are on the same musical wavelength, which makes their long-time working relationship an anchor of sorts. “Dave and I don’t necessarily stick with what’s easiest which is fine and anxiety-inducing, in a good way,” he says. “He challenges me to do something a little bit different.”


“I am a relatively solitary person and seem to work best alone,” he says. “I do count on others to help the project as the process of making and releasing an album moves forward, but if it doesn’t match what I have in mind, it’s hard for me to really be there for it. I guess this is one reason why the project has been independent all this time. Trust me, I understand that thinking this way is both an asset and a liability.”


However, this stubborn independence also reflects Ounsworth’s commitment to musical integrity. Clap Your Hands Say Yeah’s career arc is all about building on previous successes while staying true to a core artistic vision. And although The Tourist may have emerged from challenging times, it reflects Ounsworth’s uncanny ability to move forward, no matter what the circumstances.


“I’d rather not say that it was a dark time, but it was a difficult time in my life—among the most difficult,” he says. “But I needed and need to try to let it go. And this is how I let things go. Though it’s the same for any album—this one probably more than the others.


“But I have to try to do something each time that’s new and engaging for me,” he adds. “I mean, I could very well just write songs the way they were early on. But I don’t think that people would appreciate listening to someone just going through the motions. We have to build something to last, rather than just build it because it looks good at the moment.”


– Annie Zeleski

Jun 3

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $12 General Admission / $15 General Admission

Event Information

Redefining the possibilities of modern music, The Russ Liquid Test fuses the raw vitality of classic funk and the inventive sound design of electronic production. Songwriter/producer and renowned brass specialist Russell Scott heads up the New Orleans-based band. Guitarist Andrew Block and drummer Deven Trusclair round things out, with each providing a distinct musical background deeply rooted in the New Orleans jazz scene. Their debut EP 1984 featured an eclectic array of guest collaborators such as Mr. Lif and Ivan Neville—successfully creating an auditory canvas to forge The Russ Liquid Test’s irresistibly soulful future-vintage stylings.

A kinetic energy infuses each track on 1984. Giving way to a mixture of funk/jazz/electro, The Russ Liquid Test evokes a kaleidoscope of textures, senses, and moods. Featuring Ivan Neville on keyboards and the Funky Meters’ Russell Batiste Jr. on drums, the effervescent and synth-heavy title track “speaks about the current state of America from the perspective of an outsider,” as described by Scott. Lead single “Honesty,” meanwhile, finds The Russ Liquid Test slipping into a woozy psychedelia, offset by a brilliantly structured dichotomy introduced in its second-line-inspired groove.

At the heart of The Russ Liquid Test is an improv-driven musicality that began with Scott’s taking up classical piano. After spending several years playing in a jazz quintet on cruise ships and touring with psychedelic ska band Uprite Dub Orchestra, his one-of-a-kind artistry was unveiled in the genre-busting musical performance group MarchFourth Marching Band. Capable of playing the trumpet and saxophone, Scott quickly began experimenting with electronic music, eventually adopting the moniker of Russ Liquid. As his full-length debut, 2013’s Foreign Frequency showcased a forward-thinking mentality and fearless vision, anchored by an incomparable knowledge of music as a whole. “I wanted new colors to paint with,” says Scott of his foray into electronic music. “I kind of look at the electronic world as this whole other color palette, compared to the traditional sounds we’ve been working with for the past however many years.”

While on tour with Gramatik in 2014, Scott crossed paths with Block and discovered the duo’s shared musical tastes and philosophies. A South Florida native, Block grew playing guitar in his local Pentecostal church. “I wasn’t religious, I just wanted to play at that church because the music there was amazing,” says Block. He later relocated to New Orleans, pursuing his dream of becoming a full-time musician. The guitarist’s legendary endeavors reached fellow purveyors of soul/funk/R&B, ranging from Pretty Lights to New Orleans icon Dr. John. Capable of collaborating and working as a solo artist without missing a beat, Block released his 2014 debut You Can Only Go Up From Here on Gramatik’s independent label Lowtemp.

In the making of 1984, The Russ Liquid Test compounded their potent chemistry by bringing in a lineup of equally impassioned musicians. “Coming from a background of playing in bands and then getting into electronic music, I’d really missed having that interaction with other musicians,” says Scott. “The most rewarding thing for me is being able to bounce ideas off other people, so that the music ends up having more than just one person’s vibe to it. Ultimately it lets you give the audience even more to connect with.”

The studio workhorses have already begun working on a sophomore EP. The Russ Liquid Test also presents a joyful sense of synergy in their high-powered live shows, with recent appearances including Shambhala Music Festival, Lightning in a Bottle, Summer Camp, and Sonic Bloom, among others. No matter the setting, a clear multidimensionality can always be heard in The Russ Liquid Test’s projects. “We want to make people feel good but also give them something to reflect with,” says Scott. “It’s not about just making party music or music that’s more introspective—it’s for the full gamut of human expression, and we want it to be just as dynamic as life itself.”

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@MakinItMag's Members Only: VIP Concert Series kicks off tonight! Doors open at 8PM. A great line up of Amazing talent and special guests will be in the building. Limited capacity, please arrive before 9PM. Hosted by @fortknoxlive with Music by @djcassiuscain. Starring: @celinalinaofficial @idrismusic1@thatguybamn @bigmikemicwhoa @re_ill@voreheez @phriday13 @mleglife #atlanta #music #concert #hiphop #rnb #pop #musiclovers #atl #makinitmag

Tonight! We've got a heavy show with ALCEST (France) + THE BODY + Creepers + Dead Register. Doors at 8pm. $20 at the door. All Ages.

Tonight at Aisle 5: Roadkill Ghost Choir with Oak House and Neighbor Lady. $12 / doors at 9 / All Ages