On March 16, The Masquerade announced that it was suspending operations to aid in the effort to slow the outbreak of the COVID-19 virus. Since then, the Downtown Atlanta music venue has canceled and postponed more than 100 shows in all three of its live music rooms — Heaven, Hell, and Purgatory. Many shows are being rescheduled for the fall and winter months, but the doors remain closed indefinitely.
The Masquerade is the city’s largest independently-owned music venue. Each night, the club brings more music to Atlanta than anywhere else, ranging from hip-hop, trap music, punk, hardcore, heavy metal, and jazz to DJ nights such as Torch DNB and the LA-based Emo Nite.
This means an awful lot of bartenders, sound engineers, loaders, caterers, box office staff, security, and administrative personnel are without work for the time being.
To help its employees pay the bills, a GoFundMe page is set up with all proceeds being distributed to the club’s employees, and there are donation perks.
Over the last three years, singer, and multi-instrumentalist Kristen Englenz has spent much of her time traveling back and forth between Nashville and Atlanta, although she still calls Atlanta home. On Friday, March 6, she returned to the Eddie’s Attic stage to play the release show for her proper debut album ingénue — and yes, that’s ingénue with a lowercase i.
“I thought it was more visually pleasing, interesting, and balanced,” Englenz says. “However, I have found that most people are capitalizing it anyways, so I may have to get over that.”
The album is the follow-up to Englenz’s 2015 The Extent of Play EP, and was recorded by Ken Coomer of Wilco and Uncle Tupelo fame at Cartoon Moon Studios in Nashville. As the story goes, Englenz had been enlisted to sing back-up on Decatur-based songwriter Mike Killeen’s album Ghost, which Coomer happened to be recording and producing. When Coomer heard Englenz’s parts, he approached her to produce ingénue. Coomer also plays drums and percussion throughout the album, and one early single, “Pray for Rain,” features the golden voices of the Blind Boys of Alabama singing as well. Continue reading at CL.
My name is Chad Radford and I am an Atlanta-based music journalist with 20 years of experience in writing, editing, and podcasting. Jazz, noise, post-punk, hip-hop, hardcore, metal, modern composition, and all points in between are my forte. This site will feature links to articles I have written for other publications as well as exclusive content. Follow me on Facebook, Instagram, and Twitter.
The cover art for Vimur’s second album, Triumphant Master of Fates features a painting by Portland, Oregon-based artist Adam Burke (of Nightjar Illustration), depicting a mountainous landscape divided by a river of blood. Standing atop a mountain, a lone traveler gazes into a massive black hole that has formed in the sky, radiating beams of light back at the viewer. It’s an arresting image that, like the cover of a 1950s pulp sci-fi novel, captures a climactic moment plucked from an epic journey.
For Vimur, Burke’s painting illustrates a moment of reckoning on a quest to find deep knowledge, a reverence for the expanding cosmos, and a vision of arcane knowledge, imperceptible when viewed through the lens of humankind’s earthbound senses. It’s also an enticing entry point that sets the tone for the Atlanta black metal outfit’s dive into a much older, colder, and infinitely larger universe than the Norse mythology hinted at with 2014’s Traversing the Ethereal Current and 2016’s Exegesis EP.
“The themes on the new album are all about seeking truth regarding the micro, the macro, the inner, the outer, darkness, and light; they’re about totality and all of its many dimensions,” offers the group’s singer, guitar player, and founding member, Vaedis Eosphorus. “In the past, I feel like I was just knocking on the door of concepts rather than fully opening the door and letting them come into me — come through me. I was exploring rather than exuding,” he says. Read the full story at CL ATL.
Daniel Ash has a story he likes to tell about how the inspiration behind his current group Poptone came like a thief in the night. Ash, the former Bauhaus and Love and Rockets singer and guitarist, had fallen asleep at his desk with a pair of headphones on. He’d been clicking around Youtube, and recalls with hazy detail one of the last things he heard before drifting off to sleep: Brian Eno’s 1975 album, Another Green World.
“Eno is one of my favorites of all time,’ Ash says over the phone from his home in Los Angeles. The album’s flowing atmosphere and minimal pop rhythms are more than enough to send anyone’s subconscious mind drifting through dreamland on a cloud of pastel impressionism.
But sometime around 4 a.m., the spirit of rock ‘n’ roll Lemmy Kilmister of Moțrhead emerged to commandeer the streaming algorithm of Youtube on continuous play.
The buzzsaw guitars of Moțorhead’s “Ace of Spades” came ripping through the headphones at maximum volume. When Ash heard the song and Lemmy’s rasp growling out from beyond the grave, “You win some, lose some, it’s all the same to me/The pleasure is to play, makes no difference what you say,’ it was as though Ash was given a new lease on life. “I knew what I had to do,’ he says.And it had to happen immediately.
“Until that moment, I had given up on the idea of ever playing live again I wanted to make film and TV music,’ he says. “I had lost my confidence, and thought that playing live would never happen for me again.”
Charged by this late night shakeup, Ash let the idea simmer. “I slept on it for a few days,’ he says. “I just wanted to make sure it really was a good idea.” Sure enough, the powerful late-night jolt had awakened in Ash a desire to break his long hiatus from performing live.
His longtime cohort and drummer Kevin Haskins was ready as well. Back in the ’80s, Ash and Haskins had played only a handful of shows with Tones On Tail, the short-lived band they shared with bass player Glenn Campling.
Revisiting Tones On Tail’s songs and giving them the attention they deserved became priority one. But Ash and Haskins had other songs on their minds as well. There was Bauhaus’ austere “Slice Of Life,’ from 1983’s Burning From the Inside a song that Ash identifies as the birth of Love and Rockets. There was also Love and Rockets’ early cover of the Temptations’ 1970 hit “Ball of Confusion,’ which consummated the group’s vitality, along with its shift from Bauhaus’ visceral goth and post-punk charge into the realms of shimmering psychedelic pop.
Love and Rockets also scored a legitimate Top 10 hit with the seductive 1989 single “So Alive.” Poptone was born as a career retrospective, but Ash wanted the group to be a nostalgia trip with a life of its own. It was a new band rather than a reunion with Campling, or Bauhaus and Love and Rockets bass player and Haskins brother David J. The latter has carried on with an extensive a solo career, and has recently been supporting his latest album Vagabond Songs
Ash’s first question: “Who’s going to play bass?” They decided on Haskins’ daughter Diva Domp̩. Domp̩ has carved a niche for herself in Los Angeles’ music scene, releasing solo albums via Critical Heights, and performing in bands such as Pocahaunted, Blackblack, and most recently as Yialmelic Frequencies, as well as hosting a monthly guided-meditation show for DubLab.com.
While much of Diva’s musical aesthetic is steeped in layers of mystical, electronic, and largely instrumental drones, adapting to the role of bass player for Poptone came naturally. After all, she shares the Haskins DNA with her father and David J, and has been exposed to the songs her entire life. The influence even manifests itself in subtle ways, such as her 2015 single “Satori,” which gives a nod to Bauhaus’ 1981 single “Kick In the Eye.”
“I have always been inspired by my dad’s music,’ Domp̩ says. “It was challenging at first, but I wanted to honor this musical legacy, stay close to the original songs, and do my part to hold the space energetically, and make this group happen.” In April, Poptone premiered with a two-night stand at Swing House Rehearsal Studios in Los Angeles. Since then, the trio has been touring across the country in short two-week bursts of shows that keep the group’s energy levels high amid a flurry of blazing lights and the haunted pop ambiance of songs such as Love and Rockets’ “Mirror People’ and Tones On Tail’s “Movement of Fear,’ “Lions,’ and “Go!” Through it all, “Slice Of Life’ is the one song that Poptone has chosen to represent Bauhaus, and it’s still one of Haskins’ favorite songs to play. “I kind of feel proud when we come to that song,’ Haskins says. “I don’t know any other way to explain it, but I start feeling a little emotional when we play it.”
Haskins says the Tones On Tail songs are at the heart of Poptone’s drive. And now, because of technology, they more closely resemble how they sound on the records; each one maintains the haunting presence of its original version, packed with a renewed energy. From Tones On Tail’s ghostly cover of Elvis Presley’s “Heartbreak Hotel’ to the distorted rush of Love and Rockets “No Big Deal,’ inhabiting these songs in a modern context has been enriching for both Ash and Haskins. But it’s the audience’s responses that have affirmed their instinct to return to the stage.
With confidence rekindled, what happens next remains to be seen. Writing new material has been discussed, but nothing has been determined.For Ash, the power of Poptone lies in the freedom of living in the moment. “I get tunnel vision when I’m involved with a project, and I’ll follow it to the end,” he says. “I put everything into one thing, and when it’s done, I move on. So I’m not really thinking about what happens next. It’s like something John Lennon said: ‘One thing I can tell you is you got to be free,’ and I’m a huge believer in that. I don’t know how long this will last, but it’s an absolute pleasure.”