Originally intended as an entry for an Ableton remix competition, the latest single from the ridiculously prolific deadCAT finds Britt Teusink and Gage Gilmore incorporating samples from M83, Junior Boys and Nosaj Thing in order to create an airy summertime dance jam that breezes by far too quickly. The duo have become something of a two-headed beast trading in abrasive and chaotic noise-pop for some tracks and then gauzy, sun-kissed dance grooves for others. For some these battling aesthetics might be off-putting, but personally I think that dichotomy is what makes the band’s music so diverse and challenging—and therefore, interesting. Give a listen to “Numbiez” below.

More Info:
Bandcamp: www.deadcat.bandcamp.com
Facebook: www.facebook.com/deadCATdeadCAT
Soundcloud: www.souncloud.com/deadcat-2
Twitter: www.twitter.com/deadCATdeadCAT

Photos of Black Lips, Riff Raff and Eli Porter performing at Terminal West on May 19, 2012. All photos by Brandon Funk.

Click on a photo to enlarge.

© Copyright 2012 Brandon Funk

So yesterday I brought up how unusual it was for the Far Out crew to be so quiet for so long and next thing you know—WOOSH!—another video gets released. Now, I’m not trying to take credit for anything, I’m just saying. This latest joint comes to us courtesy of Bias the Black who is preparing to unveil his new record, noir: PHANTOM, this Friday. “The Chill” is the album’s first single and it finds Bias spitting over a spectral beat that dramatically gathers force and tension as the song pushes forward. Much like his Far Out partner-in-crime Glenn Saddler, Bias likes to strike quickly in rapid bursts; just as the track is gathering steam and coming to a head, he cuts it off and the music fades out. The accompanying video, directed by Kyle Drew, opts for a simple and straightforward approach that focuses most of its attention on Bias himself, but the juxtaposition between the soft lighting and the jagged cuts helps to escalate the feeling of anxiety and discomfort.

Bias the Black will celebrate the release of noir: PHANTOM this Friday night, May 18, at the BeAtlanta House. Joining him will be his fellow Far Out bretheren Glenn Saddler, Illmont and Cornbread. Doors open at 8:45pm. Admission is FREE.

More Info:
Web: www.fartherout.com
Bandcamp: www.bias.bandcamp.com
Twitter: www.twitter.com/biastheblack

Someday in the near future when remixes begin to hit their fourth, fifth or sixth iterations, I’ll look back on this as some sort prescient moment, but as commonplace as its becoming, a remix of a remix still strikes me as some sort of post-modernism labyrinth without an exit, like a photo of someone holding the same photo, who’s holding the same photo, who’s holding the same photo, and so on and so forth into infinity.

For his latest “BUST,” Atlanta’s heRobust sets his sights on Ludacris and Field Mob’s reworking of Ray Charles’ 1960 classic “Georgia On My Mind” (which itself was just one of many versions of the Hoagy Carmichael and Stuart Gorrell original written in 1930). I’ll admit being ambivalent towards a lot of electronic music, but there’s something about the way that heRobust constructs his beats that feels especially grimy and filthy. It’s music you feel with your gut, that feeds its way into your nervous system in an attempt to cause spasms. I’m a fan of the Ludacris joint, no doubt, but this remix is far more primal. Check it out below and then head over to heRobust’s Facebook page to grab the free download.

More Info:
Web: www.herobust.com
Bandcamp: www.herobust.bandcamp.com
Facebook: www.facebook.com/heRobust
Twitter: www.twitter.com/herobust

It’s not like Far Out to lay low for this long. The Atlanta collective, headed up by hip hop artists Glenn Saddler and Bias the Black, usually have their hands full releasing records, filming videos, putting together artist showcases or basically doing whatever they can conjure up to help promote their many artistic endeavors. But in recent months their camp has been virtually silent. Well, that is until a couple of weeks ago when this new video from Saddler made its way onto the Internet. And from the looks of it, we’ll be hearing and seeing a lot more from this cat in the coming weeks.

“Fais Gaffe Se Tois” (French for “watch out for yourself”) is not only the first single and video from Saddler’s upcoming full-length, Anthem, due out this Friday, it’s also the first video in a six-part series that will comprise a new short film entitled Those Days. Working in collaboration with director Kyle Drew, Saddler and his co-star, photographer Chelsea Turner, come together to help tell the story of a young man suffering through an existential crisis. This first installment, shot in gritty black and white, does a good job of establishing a palpable sense of emotional tension and setting up the characters for the future drama that will unfold. As of this moment there is no word on when the remaining five videos will be released, so for now you’ll just have to settle for watching this vid and scouring for clues of what’s to come.

Glenn Saddler will celebrate the release of Anthem this Friday night, May 18, at the BeAtlanta House. Joining him will be his fellow Far Out bretheren Bias the Black, Illmont and Cornbread. Doors open at 8:45pm. Admission is FREE.

More Info:
Web: www.fartherout.com
Bandcamp: www.glenn.bandcamp.com
Twitter: www.twitter.com/glennsaddler

THIS WEEK’S BEST BET:

Hawks (Record Release Show)
w/ The Liverhearts, Skin Jobs, Sunglasses (Records Release Show)
Friday, May 18
Star Bar – 437 Moreland Avenue in Atlanta 30307
Admission is FREE

Hawks have gotten a lot of love from us in the past couple of months. Don’t expect it to stop anytime soon—that’s what happens when one of the best live bands in the city puts together one of the most ferocious and thrilling albums of the year. If you have yet to read my review of Pushover, you can check it out here. I could go on and on about how terrific the record is, but I think that summarizes my thoughts fairly nicely. In short, Pushover is a fucking bruiser of a record that feels like anything but. It’s the audio equivalent of a cock punch, a spit in the face and an enthusiastic embrace—all at the same time. I’m really itching to hear these songs live where I expect they’ll come off even sharper and more aggressive than in the studio. The band has come a long way since the will he or won’t he theatrics of singer Mike Keenan’s nudist escapades, but that lingering tension of the danger of the unexpected still remains.

THE BEST OF THE REST:

M83
w/ I Break Horses
Monday, May 14
The Masquerade – 695 North Avenue NE in Atlanta 30308
Admission $23 / Purchase Tickets

Time Wharp
w/ Abbot, Divine Interface, Cc
Monday, May 14
529 – 529 Flat Shoals Avenue in Atlanta 30316
Admission is FREE

heRobust
w/ REKchampa, Moist Ghost, Deku
Wednesday, May 16
The Five Spot – 1123 Euclid Avenue NE in Atlanta 30303
Admission $5

M. Ward
w/ Lee Ranaldo Band
Thursday, May 17
Buckhead Theatre – 695 North Avenue in Atlanta 30308
Admission $21 ADV / $24 DOS / Purchase Tickets

Dark Dark Dark
w/ Back Pockets; Christ, Lord
Thursday, May 17
529 – 529 Flat Shoals Avenue in Atlanta 30316
Admission $10 ADV / $12 DOS / Purchase Tickets

Sleeper Agent
w/ Turf War, Death On Two Wheels
Thursday, May 17
The Basement – 1245 Glenwood Avenue SE in Atlanta 30312
Admission $10

Lucy Dreams
w/ Tikka, Young Again
Thursday, May 17
Star Bar – 437 Moreland Avenue in Atlanta 30307
Admission FREE

Wowser Bowser
w/ Qurious, White Life, Mediocre Machines
Friday, May 18
529 – 529 Flat Shoals Avenue in Atlanta 30316
Admission $5

BiAS the Black
w/ Glenn Saddler, Illmont, Cornbread
Friday, May 18
BeAtlanta House – 197 Howell Drive SE in Atlanta 30316
Admission is FREE

Tunes From the Tombs
w/ Lucy Dreams, Nomen Novum, Adron, Young Orchids, more
Saturday, May 19
Oakland Cemetary – 248 Oakland Avenue SE in Atlanta 30312
Admission $10 One Day / $15 Two Days

Washed Out
w/ Airbird, Dogbite
Saturday, May 19
Terminal West – 887 West Marietta Street Studio C in Atlanta 30318
Admission $15 / Purchase Tickets

St. Vincent
w/ Shearwater
Saturday, May 19
Variety Playhouse – 1099 Euclid Ave NE in Atlanta 30307
Admission $20 / Purchase Tickets

P.U.D.G.E.
w/ Chris Devoe, P Villa, Illastrate, Knowsis, Psych Army DeeJays
Saturday, May 19
529 – 529 Flat Shoals Avenue in Atlanta 30316
Admission is FREE

Estoriafest 2012
w/ Sealions, Turf War, Brass Castle, Small Reactions, Tornado Town, Adron
Sunday, May 20
97 Estoria – 727 Wylie Street in Atlanta 30316
Admission is FREE

The Donkeys
w/ Buxton, The Long Shadows
Saturday, May 19
The Earl – 466 Flat Shoals Avenue in Atlanta 30316
Admission $8 / Purchase Tickets

The Flaming Lips
w/ Young the Giant, AWOLNation, Dawes, Ponderosa
Saturday, May 19
Centennial Olympic Park – 265 Park Avenue West NW in Atlanta 30313
Admission $25 ADV / $30 DOS / Purchase Tickets

Ty Segall
w/ White Fence, Carnivores
Sunday, May 20
The Earl – 466 Flat Shoals Avenue in Atlanta 30316
Admission $10 / Purchase Tickets

Tunes From the Tombs
w/ Mood Rings, The Whiskey Gentry, Ocha La Rocha, more
Sunday, May 20
Oakland Cemetary – 248 Oakland Avenue SE in Atlanta 30312
Admission $10 One Day / $15 Two Days

Polish Nails
w/ Each Other, Faun & a Pan Flute, Mood Rings
Sunday, May 20
House Show – 911 Moreland Avenue in Atlanta 30316
Admission $10 One Day / $15 Two Days

It’s all starting to come together for Royal Thunder. After signing with the Relapse Records in 2010, it felt like it was only a matter of time before the rest of the country began to catch on to the band’s dark, whiskey-infused blues-metal. Then came the re-release of their debut EP, which turned more than a few heads and built some heavy anticipation for their upcoming first full-length. And now, with CVI scheduled to hit store shelves in just two short weeks, the band has announced that they will be hitting the road for a U.S. tour is support of stoner metal veterans Valient Thorr. The roughly six-week stint, which also includes Holy Grail and progressive rockers the Kickass, will kickoff on June 10 in Richmond, Virginia and will head up the East Coast before crossing the country and back. The tour concludes with a July 19 date at the Chop Shop in Charlotte, North Carolina. You can see the full list of dates below.

Unfortunately, there is no Atlanta date scheduled for the tour. However, Royal Thunder fans should come out in full force when the group celebrates the release of CVI at the Earl on Saturday, May 26. Fellow locals StoneRider and the always amazing Spirits and the Melchizedek Children will play in support.

Royal Thunder U.S. Tour Dates:
May 26 – The EARL – Atlanta, GA w/ StoneRider, Spirits and the Melchizedek Children
Jun 10 – Strange Matter – Richmond, VA*
Jun 12 – V Club – Huntington, WV*
Jun 13 – The Smiling Moose – Pittsburgh, PA*
Jun 14 – Chameleon Club – Lancaster, PA*
Jun 16 – Great Scott – Boston, MA*
Jun 17 – Mercury Lounge – New York, NY*
Jun 19 – Grog Shop – Cleveland, OH*
Jun 20 – Double Door – Chicago, IL*
Jun 21 – Small’s – Hamtramck, MI*
Jun 22 – Pyramid Scheme – Grand Rapids, MI*
Jun 23 – The Frequency – Madison, WI*
Jun 24 – Triple Rock Social Club – Minneapolis, MN*
Jun 26 – Rye Room at Bourbon Theatre – Lincoln, NE*
Jun 27 – The Marquis Theater – Denver, CO*
Jun 28 – In the Venue – Salt Lake City, UT*
Jun 29 – Neurolux – Boise, ID*
Jun 30 – El Corazon – Seattle, WA*
Jul 01 – The Star Theatre – Portland, OR*
Jul 02 – The Alley – Sparks, NV*
Jul 03 – Bottom of the Hill – San Francisco, CA*
Jul 05 – The Down & Out – Los Angeles, CA*
Jul 06 – Casbah – San Diego, CA*
Jul 07 – The Constellation Room at The Observatory – Santa Ana, CA*
Jul 10 – The Rhythm Room – Phoenix, AZ*
Jul 12 – Black Sheep – Colorado Springs, CO*
Jul 13 – Sokol Underground – Omaha, NE*
Jul 14 – Mojo’s – Columbia, MO*
Jul 15 – Birdy’s Live – Indianapolis, IN*
Jul 18 – JJ’s Bohemia – Chattanooga, TN*
Jul 19 – Chop Shop – Charlotte, NC*

* w/ Valient Thorr, Holy Grail, The Kickass

More Info:
Facebook: www.facebook.com/RoyalThunderMusic

Hawks
Pushover
[Learning Curve Records, 2012]

4 out of 5 stars


Purchase This Album:
Learning Curve Records

I like the feeling of unease, of stomach-churning grooves. The way the guitars aren’t afraid to draw blood. There’s nothing pleasant about any of this; it’s by turns nasty, vicious and mean. But that’s the hook. It’s genuinely dirty and dangerous, misanthropic in its rage. If anything has changed for Hawks since last year’s RUB, it’s that they become even more proficient in stitching together melodic hardcore aggression with belligerent noise rock brutality. It sure ain’t pretty, but it’s definitely beautiful.

Opening with “White Crosses,” a song we featured on the site last month, the direction for Pushover is established quickly and emphatically: this one is going to hurt. Given the band’s development over the past few years, that much isn’t exactly a surprise; what’s really impressive here is the consistency with which this band does damage and the variety of ways in which they do it—sledgehammer riffs, abrasive post-punk grooves, piledriver drumming, barbed wire vocals. “Blistered” attacks in a rush, a whirling din of flying dagger guitars and stinging jabs, while “Plush” strikes with cold-blooded force, a crushing combination of brutal body blows and lead-fisted gut punches. Elsewhere “Sunder King” shows legitimate growth and maturation as the band shifts from blitzkrieg to a slow burn with Mike Keenan sounding for all the world like Mike Patton channeling his inner David Yow. It’s a much more dynamic and pensive approach, but the track cuts no less deep. Indeed, if the new Tomahawk record can match this level of intensity, I’ll be a happy man.

Over the past couple of years, Hawks have quietly become one of the most prolific and consistently great bands in the city. And if you can stomach the battering chaos, Pushover is indisputably one of the best local albums of the year.

Hawks will celebrate the release of Pushover this Friday, May 18 at Star Bar. Supporting them will be the Sunglasses, the Liverhearts, 3 Man Band, Skin Jobs and Cheap Art. Doors at 9pm. Admission is FREE.

More Info:
Bandcamp: www.hawksnoise.bandcamp.com

Eddie Meeks
Cappuccino Is… The Producer’s Best Friend Vol.1: The Alchemist Sessions
[Self-released, 2012]

3.5 out of 5 stars


Download This Album:
Bandcamp

I’m old enough to remember some of the pioneers of hip hop—Afrika Bambaataa and the Soulsonic Force, Grandmaster Flash and the Furious Five, the Cold Crush Brothers. Since those early formative years, the genre has splintered into a thousand iterations and undergone innumerable (r)evolutions. Musical and cultural boundaries have been pushed, expanded and altered forever. But in all that time and though all the turbulent, world-altering upheaval, the hallmarks of great hip hop has not changed—at the end of the day it’s still about dropping dope beats and delivering killer rhymes.

For that reason, the highest compliment that I can pay to Eddie ‘Cappuccino’ Meeks is that his music reminds me of so much of what attracted me to hip hop all those years back. Working with DJ Jon Doe and producer the Alchemist, Meeks’ latest effort, Cappuccino Is… The Producer’s Best Friend Vol.1: The Alchemist Sessions, is a short but highly infectious set of grimy cuts. With few exceptions his backing tracks are classic bangers featuring booming drums and scattershot percussion laced with bits of funk, soul and R&B. On the mic, he attacks with rugged vehemence—his rhymes are smooth but his tone and cadence are caustic. Highlights include the head-nodding opener “Chemistry” and the epic coke smuggler fantasy “Cochabamba” where Meeks flashes his considerable skills as a lyricist and storyteller. For the most part the hooks on this joint aren’t as sticky as they were on last year’s stellar full-length, Cappuccino’s Unauthorized Records, but Meeks’ flow remains tight and his presence is as commanding as ever. There are a few lulls here and there but this one is definitely a keeper.

More Info:
Bandcamp: www.eddiemeeks.bandcamp.com
Facebook: www.facebook.com/SouthMemphisMeeks
Twitter: www.twitter.com/cappuccinomeeks

It’s taken just one record and two videos for experimental psych-drone rockers Lyonnais to set themselves apart from virtually every other band in this city. While almost every local act pursues music—that is, songwriting in one form or another—Lyonnais pursues art. Yes, the band clearly spends considerable time and effort composing their dark, brooding soundscapes and arty, abstract grooves but their music-making is just one part (a considerably large one, no doubt) of a much greater vision that deftly incorporates elements of the visual arts—most notably, photography and cinema.

If the group’s stunningly-crafted debut video for “Dusted At Mount Sinai” wasn’t proof enough of Lyonnais’ artistic prowess and eye for gorgeous detail, then perhaps their latest work for the sprawling two-track opus, “A Sign On High/Modern Calvary,” will prove more compelling. Directed and edited by Sam Campbell and the band’s own Lee Tesche, the production, shot mostly on location in the vast Moroccan desert, successfully creates an exotic atmosphere of mystery and existential dread. Clocking in at well over seven minutes, there’s a lot here to soak in, but the melding of the band’s haunting music with the video’s surreal and breathtaking visuals is close to perfect. Enjoy.

More Info:
Facebook: www.facebook.com/lyonnaisband
Twitter: www.twitter.com/lyonnaisband

As much as I like deadCAT’s “littlefeet,” I have to admit that it’s one of their more obfuscating songs. Everything about it feels unsettled and surreal. If you listen closely you can almost feel the instruments and the groove unraveling as each individual element begins to separate from its binding structure. In lesser hands, it would likely make for a sputtering mess but Britt Teusink and Gage Gilmore have a knack for turning such calamitous sounds into abrasive yet alluring noise-pop gems.

Perhaps playing off the title of their latest EP, weareinaCULT, the accompanying video only serves to reinforce the duo’s darker and more disturbing tendencies by depicting, among other things, some sort of bloody pagan sacrifice involving mass cannibalism. There’s some fairly bizarre stuff happening here, folks, but damn if it isn’t all so riveting. Directors Tim Reis and Mike Bremer do an excellent of sequencing the visuals and tying them to the song’s fractured and jittery movement, which helps to introduce a sort of hypnotic, dreamlike quality to the production. This isn’t what I picture in my head AT ALL when I listen to this song but, yeah, somehow it all makes sense.

More Info:
Bandcamp: www.deadcat.bandcamp.com
Facebook: www.facebook.com/deadCATdeadCAT
Soundcloud: www.souncloud.com/deadcat-2
Twitter: www.twitter.com/deadCATdeadCAT