Mastodon‘s latest single, “Fallen Torches,” is a longtime staple of the group’s repertoire, but has remained unreleased until now. The song—one of the first recordings made in the Mastodon-run Ember City Rehearsal Studios in Atlanta’s Capitol View neighborhood—is the opening number on Medium Rarities, a 16-song compilation gathering odds and ends from the past 20 years of the group’s history—7-inch singles, “White Walker” from the Game of Thrones soundtrack, instrumental outtakes, and various live recordings including a scorching rendition of Metallica’s “Orion.”
“Fallen Torches” also features a guest vocal growl courtesy of Scott Kelly of Neurosis. True to Mastodon form, the song could embody the perfect metaphor for American politics, the global climate crisis, human interaction eroding in the face of the internet … Or not. When taken at face value “Fallen Torches” is a white-hot neckbreaker driven by mammoth riffs and rhythms that rival the almighty white whale behind Mastodon’s classic 2004 LP Leviathan. Meaning lies in the ears of the beholder, albeit quite ferocious.
As with any public gathering taking place amid the ongoing pandemic there are some basic rules that apply: — Contact-free temperature checks upon arrival — Keep your mask on while moving around (walking to the bar or to the indoor restrooms, et al). Masks can be removed while you’re seated in your area.
West End Motel is back with a new single, titled “New Wave Kid,” a wistful song that frontman Tom Cheshire calls the group’s “positive jam for dark times.”
In the interest of full disclosure, I should say that I released West End Motel’s first 7-inch via Ponce de Leon Records back in 2008; a four-song EP featuring “Oh I’m On My Way” and “There’s Gotta Be More To This Life” b/w “Under My Skin” and “Women Come and Go.”
Really, though, West End Motel is a much different band these days from what it was back then, and it has been for a good long while. In the beginning, Tom Cheshire and Brent Hinds played and recorded as a wooly and red-eyed pair of poets, songwriters, and troubadours suspended in the aspic of Atlanta when the sun goes down—a derelict version of the city that no longer exists.
Will Raines (left), Brent Hinds, and Tom Cheshire. Photo by Josh Groom.
Hinds brought to the project a lifetime of experience playing parties, house shows, and stages large and small in bands such as hardcore outfit Four Hour Fogger, spectral surf rockers Fiend Without A Face, and the almighty Mastodon. Cheshire was the Atlanta by-way-of-Queens, New York statesman of punk rock singing the Rent Boys and All Night Drug Prowling Wolves’ songs about love and brotherhood, penned on whiskey-soaked napkins.
West End Motel, however, was something different. Their weird and tender acoustic songs—as though they were discovering their sound during loose, late-night recording sessions—found both Hinds and Cheshire bearing their hearts and souls in disarmingly unguarded sentiments. The vocal and guitar melodies teemed with beauty, depression, elation, and wisdom gained from hitting rock bottom and pulling yourself back up to face the sun one more time.
Since releasing that original 7-inch, the group has released three albums, toggling between major label offshoots with 2011’s Don’t Shiver, You’re A Winner (Rocket Science Ventures) and 2012’s Only Time Can Tell (Alternative Distribution Alliance) before taking matters into their own hands and self-releasing 2017’s Bad With Names, Good With Faces. The group’s personnel has expanded as well, incorporating Hinds’ Fiend Without A Face cohorts—bass player Stiff Penalty and drummer Troy King, along with a few other players.
As the story goes, “New Wave Kid” was born when Cheshire and Ben Thrower went into Audio Oasis in Bristol, Tennessee with producer Matt Smile. Cheshire sang and Thrower crafted the song’s rhythms and melodies on an acoustic guitar. They sent the song to Jeff Bakos in Atlanta where Stiff Penalty added bass and King added drums. Will Raines added majestic keys from his home in Brooklyn. Then they sent it to West End Sound where Tom Tapley recorded Hinds and Brian Kincheloe’s guitar parts, and Ben Davis’ saxophone and bells.
The result is a sterling trip down memory lane rising from layers of lush pub rock melodies and what is, perhaps, the most evocative vocal delivery of Cheshire’s career.
“New Wave Kid” is a catchy number that’s branded with intoxicating musical motions that crystallize all of West End Motel’s influences—Pogues-esque punk and rock ‘n’ roll, The Band’s roughly-hewn stride, power pop, and blue-eyed soul—into a stylish hybrid that’s tailored to Cheshire’s husky voice, which telegraphs so much of the band’s character.
The song is part of a larger work in progress. The plan is to drop a new single at the beginning of each month for the next six months. After that, they’ll turn around the fourth proper West End Motel full-length album. In the meantime, “New Wave Kid” feels like a watershed moment for the group’s ever-growing movement from ramshackle magic to a deliberate and stylish sound and vision.
At the core of both releases stands the duo of cello player and Past Now Tomorrow label owner Ben Shirley and mandolin player Majid Araim. Together, they’ve fleshed out a singular musical voice while employing an arsenal of instruments—cello, fiddle, mandolin, banjo, harmonica, recorder, piano, reed organ, Korg MS-20, percussion, walkie talkies, tapes, and radio—to explore a haunted and wildly shifting terrain of musical timbres and colors.
“We did a crazy experiment with a process of overdubbing,” Shirley says of the Whispers Of Night release. “We improvised the initial pieces, then we started overdubbing. But only one of us wore headphones: One of us was listening to and playing along with what was already in the can. The other was responding to what was happening in the room. We traded back and forth, and a submerged musical composition rose up out of the ether as we went along,” he adds.
They recorded the sessions for The Dead Blessing using both a 4-Track and a computer. When finished, they spent weeks mixing it all together before Ben Price at Studilaroche put the final mastering touches on the five cavernous pieces presented here.
For voice resolve [sic.], Araim and Shirley teamed up with Philadelphia-based percussionist Leo Suarez to record a stripped-down early morning improv session—Shirley stuck with his cello, and Majid with a mandolin, violin, and his voice. Press play on the opening number, “Morning Of A Georgia Faun,” and the session sputters to life. The opening number’s title alone calls to mind Shirley’s former band—Faun And A Pan Flute—and Georgia native and saxophonist Marion Brown’s pastoral 1970 album Afternoon Of A Georgia Faun (ECM). Both provide heady context, and the song serves as an excellent entrypoint for the album’s lush and quietly calamitous survey of Georgia’s avant-garde landscape. The music is beautiful, abstract, and reflexive as songs such as “Let The Fish Gossip,” and “Grass So Soft” draw out tension in a subtle cacophony of sounds summoned from the depths of the subconscious minds of three players who all have their antennae dialed into the same frequencies.
GEORGIA MORNING: Leo Suarez (left) and Majid Araim. Photo by Ben Shirley.
Prior to this session, Suarez, Araim, and Shirley had jammed together sporadically while Whispers Of Night was on the road playing shows around the country. In June of 2019, after Suarez played a show at the Magic Lantern, the three reconvened at 8 a.m. to roll tape. Ofir Klemperer recorded the session as they all locked in with their instruments. Aside from one small, imperceptible cut, the session went down as is.
“We consciously chose to make the trio not Leo + Whispers, as we conceived of it as each individual bringing their own independent voice to the group, rather than any sort of specific sound,” Shirley says.
Both the Whispers Of Night and Suarez + Araim + Shirley releases live on Past Now Tomorrow’s Bandcamp page. A limited edition of 50 copies of The Dead Blessing and voice resolve on CD can be found on the Bandcamp page as well—not for long, though. The sturdy, cardboard sleeves and hand-assembled cover art brings a tactile element to music that often eludes conventional terms. “I wanted to have a unifying aesthetic for this set of releases,” Shirley says. “I’m trying to still produce physical things, even though not many people buy them. This way I can make them at a low cost and keep the charge down. I use the least amount of plastic possible, and still have sturdy packaging with a spine on the side—working at WREK, I know that your CD is way more likely to get pulled off the shelf if it has a spine that looks interesting. That’s at least part of the idea.”
Thousandaire is sharing a pair of videos from a new digital 7-inch EP, featuring the songs “Fine” b/w “Old Sam.”
In July 2020, singer and guitar player Andrew Wiggins (Caesium Mine, ex-HAWKS, Wymyns Prysyn, Uniform, Blame Game), drummer Adam Weisberg (Rose Hotel, True Blossom), and bass player Chad LeBlanc (ex-Iron Jayne and Vegan Coke) convened to record these takes at C.J. Ridings‘ (BIG JESUS) home studio in Stone Mountain, Georgia. Each video was shot and edited by the SuperCanoe crew.
A physical 7-inch featuring these songs may or may not appear at some point in the distant future via Colonel Records. At their current length, they’re a bit too long for a proper vinyl pressing. But these guys are wizards; keep an eye and an ear out for more.
On Friday, September 4, Kevn Kinney of Drivin N Cryin returns with a new installment of his monthly “Free Parking” live-streaming solo performances on Facebook. Kevn will play some Drivin N Cryin classics and deep cuts along with some newer numbers he’s written. He’ll tell stories, tell jokes, and he might even offer up a few cover tunes.
In the meantime, check out a podcast I did with Kevn in April 2019. He talks about reconnecting with Drivin N Cryin’s first LP, the group’s most recent album, Live the Love Beautiful, and looking within himself to find true happiness.
Press play below to check out Live the Love Beautiful.
Mark your calendars now, folks. On Thursday, September 24, at 6 p.m. Eastern Time, I am talking with journalist, author, archivist, and commentator Paul Gorman about his epic new biography, The Life and Times of Malcolm McLaren. It’s an 855-page book—I don’t know that I’ve ever read an 855-page book in its entirety (although Ulysses and Gravity’s Rainbow come close). McLaren carved a singular place for himself in history as a clothing designer, boutique shop owner, artist, and as a manager and promoter for both the Sex Pistols and the New York Dolls. Alongside his partner Vivienne Westwood, McLaren was an early progenitor of the punk movement. He’s a fascinating, worthy, and misunderstood subject for such a hefty tome, and I cannot recommend this book enough.
Gorman is an excellent conversationalist as well. Our Zoom chat is hosted by A Cappella Books. Check out the shop’s website for details on how to sign in, and how you can get a signed copy of the book.
In 2008, RSD was created to help drive traffic to record stores, which, at the time, were an endangered species. Times have changed, and vinyl now reigns supreme among music heads. The local shops that the annual hallmark holiday was invented to save now struggle to make room for the flood of limited edition RSD releases that fill the racks each year.
This year, RSD is spread across three Saturdays — August 29, September 26, and October 24. Georgia is still a hotbed for COVID-19, so things are being handled delicately across the board. If you are venturing out in search of that highly coveted Hawkwind At The BBC 1972 2xLP, Billie Eilish Live At Third Man Records, or anything else from Anoushka Shankar to June of 44, wearing a mask and maintaining at least six feet of distance between your fellow record shopping friends and fiends is a must.
No matter where you go, there you are, standing in line for a minute no matter where you go. But that’s never stopped you before. The following list is a field guide of best bets for your Atlanta RSD experience. Be safe, be cool, and check out the list of RSD official drops here.
CD Warehouse generally opens at 10 a.m., but if there’s a line they’ll open the doors early. Plenty of RSD drops in stock. 50 Barrett Pkwy. Marietta. 770-425-3472 and 2175 Pleasant Hill Rd. 770-623-1552.
Comeback Vinyl‘s physical shop will be closed for all in-store shopping and RSD pick ups. The store will be selling RSD title at Comebackvinyl.com beginning at 1 p.m. Eastern time. Keep an eye on their website, email newsletter, Instagram, and Facebook page for a list of titles, prices, and how many of each release they have in stock. 1 South Main St., Alpharetta. 678-580-0583.
DBS Sounds is the place to be at 4 p.m. when CeeLo Green stops by at 4 p.m. to sign copies of his latest album, titled CeeLo Green Is Thomas Callaway (BMG / Easy Eye Sound). He’ll be signing CDs and LPs. 10 a.m. 7 p.m. 6610 GA-85, Riverdale. 770-997-5776.
Decatur CD & Vinylis currently closed on the weekends, but they’re posting some RSD drops on the shop’s eBay store beginning at 1 p.m. Eastern time. 356 W. Ponce de Leon Ave., Decatur. 404-371-9090.
Fantasyland Records is stocking as many RSD releases as they can get their hands on, and the shop is opening an hour early (10 a.m). There is no validation required for the entire parking deck for all three RSD dates in August, September, and October—park wherever you’d like on all three levels! Masks are required for entry, and social distancing while waiting in line is a must. Customers may purchase one copy per limited edition RSD title. 360 Pharr Road N.E. 404-237-3193.
Mojo Vinyl is operating at limited capacity from 10 a.m. till 6 p.m. Five customers will be allowed in at a time between 10 a.m. and noon. After 12 p.m. the doors are open to everyone. Wearing a mask is required for entry, and hand sanitizer is provided at the door. Outside, wearing a mask and no less than six feet distance must be maintained between each customer. The line should form from the side porch and run down the driveway. Take an Uber or a Lyft, or park at the two large lots at the soccer field next door. Each RSD title is limited to one copy per person— first come, first served. Bring a list, be prompt, and remember that we’re all in this together. 26 Webb St. Ste. 2, Roswell. 678-523-5042.
Moods Music, Little Five Points’ premier neo soul, hip-hop, dance, acid jazz, Afro-Cuban, house, funk, and rare grooves music shop is opening an hour early (11 a.m.), and the store is stocked with RSD drops. 1131 Euclid Ave. N.E. 404-653-0724.
Sweet Melissa Records opens at 9 a.m. and is stocked with plenty of this year’s RSD drops. 146 South Park Square Marietta. 770-429-0434.
Waterloo Sunset is stocked with some but not too many of this year’s RSD drops. Stop by for the sidewalk sale featuring $1 LPs from 10 a.m. till 5 p.m. 900 Battery Ave. Ste. 1010. 770-989-1967.
Wax N Facts is opening an hour early (10 a.m.) and serving up RSD drops buffet style. Customers may purchase one copy per title. Five customers at a time are allowed in the shop. Bring a list, and be cool. Wearing a mask is required for entry. 432 Moreland Ave. N.E. 404-525-2275.
Wuxtry Records: The usual rules apply. The shop is open from 11 a.m. till 6 p.m., and is fully stocked with RSD titles. Wearing a face mask is required for entry, and the shop allows eight customers in at a time. 2096 N. Decatur Road, Decatur. 404-329-0020.
Did we forget someone? We tried to be as thorough as possible with this year’s list of participating record shops. Drop us a line and let us know.
A (not so) subtle new number from Amy Rigby and Wreckless Eric sums up what’s on pretty much every thinking American’s mind at the moment: “Vote That Fucker Out.”
The song is more of an empowered motivational anthem than it is a protest song per se. Call it what you will; with the 2020 presidential election looming on the horizon we all know who and what this song is about. And really, it’s all about common decency at this point. Rigby, however, eschews the obvious in such a way that her words can remain relevant come election time circa 2024, 2048, 2100—if humanity still exists. The point is: evil is timeless, and evil will always find a way to sabotage the Executive Office.
Like when John Doe and Exene Cervenka sang X’s “The New World”—“It was better before / Before they voted for what’s-his-name / This was supposed to be the new world”—a timeless song is forever in order when it comes to rising above the recurring nightmares of American politics.
When morale is low, a song like this provides a good bit of cathartic musical therapy, and with it comes a much needed bit of relief on the old heart valves. Still, the message is urgent. The republic, the environment, humanity, and a whole lot more are on the line.
Beyond the message, both Rigby and Wreckless Eric are in excellent form here, belting in unison as they wield their voices and guitars like combat-ready machines that kill fascism. The fuzz on Wreckless Eric’s guitar draws out the nuances in Rigby’s voice for a psychedelic yet powerful and direct treatment of lyrics such as “I never want to see his stupid face again / I never want to hear his name. Except for January 2021 / When I yell shame shame shame. Goodbye.”
For the visual accompaniment, Rigby and Wreckless Eric craft a potent distillation of their mutual aesthetics. The flashing illustrations recall the cover painting featured on Eric’s 2015 album amERICa, adding color to this gloriously ramped-up expansion on the sentiments that Rigby delivered with her 2017 single, “The President Can’t Read.”
The incoming administration may not be perfect, but this is America. No politician is perfect. However, when applying the basic principles of logic to the situation the solution is simple. We’ll all be a lot better off if we just vote that fucker out!
Rad/ATL 