Every third Thursday of the month, Kirkwood Ballers Club takes over Eyedrum with an open forum for experimental, improvisational, and otherwise adventurous musicians and performance artists. It is the long-standing home to Atlanta’s avant-garde, experimental, and DIY musical underground. This month’s KBC takes place on Thursday, October 16. The lineup for the evening features a headlining performance by Bl_ank, the solo project of Portland Oregon’s electro-acoustic percussionist Will Hicks.
Alchemical String Theory, FRANKS atl, Stench, Anucon, Toilet Envy, RGB & the Hell, Nathaniel Trost, and Momm are also on the bill.
FRANKS atl. Photo by Ben Garden.
FRANKS atl, the two-piece collaboration featuring Frank Schultz (formerly of Duet For Theremin and Lap Steel) and B. Frank Holleran (W8ing4UFOs, ex-Smoke), are releasing a debut album, titled Ode to Lucenay’s Peter. They’re also hosting a Bandcamp release party on Oct. 19. Press play below for an enticing teaser of what they have in store.
Wisconsin-based percussionist and composer Jon Mueller brings a spectacle of rhythm and resonance to Eyedrum on Saturday, March 1, performing “All Colors Present,” a live “Sound + Visual Meditation” set to the works of photographer Tom Lecky.
Mueller is a master of the elemental—his approach to percussion is both physical and deeply hypnotic, an exploration of repetition, texture and atmospheric weight. Over the years, he has worked with avant-garde luminaries such as Z’ev, James Plotkin, Rhys Chatham, Volcano Choir, and Pele, forever pushing the boundaries of what percussion-based music can do. He is currently working on a recording for the formerly Atlanta-based drone, minimalism, and avant-garde label Table of the Elements.
For this performance, Mueller plays two drums, wielding a pulse and a shifting sonic landscape that unfolds to the tune of Lecky’s imagery.
Lecky’s work is a meditation in its own right. His photographs tap into memory, imagination, and perception, often weaving together his own words and images with found materials, forging an abstract narrative that exists in the liminal space between experience and recollection. All Colors Present creates a visual conversation with Mueller’s constantly evolving interplay, resulting in a performance that is as much a ritual as it is a concert, where repetition and movement pull the listener into an immersive space—both grounding and transcendent.
Ipek Eginli. Photo by Steve West.
Ipek Eginli is also performing Saturday night. Eginli is a Turkish-born Atlanta transplant who has established a formidable presence amid the city’s experimental musical enclaves as a pianist, electroacoustic sound artist, and improviser who describes her works as “a process of a creation and a creation of a process.” Her performances build upon elements of electroacoustic improvisation on piano, voice, and modular synthesizers. For this show, Eginli is taking a deep dive into drones, piano, and field recordings.
$10. 8:30-11 p.m. Eyedrum Art & Music Gallery. 515 Ralph David Abernathy SW. Buy tickets here.
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Since March of 2018, Loud Humans have amassed a steadily growing arsenal of bittersweet indie rock tunes, based mostly around the songwriting of singer and guitar player Jimmy Ether.
The trio, rounded about by underground rock scene vets Ether (the Ether Family Presents, Spiral, and Monkey Boy) alongside bass player Dain Johnson (the Plastic Plan), and drummer Kip Thomas (Fiddlehead, Freemasonry, Chocolate Kiss, Haricot Vert, and more) has fleshed out a florid lo-fi charge by pressing pretty and folksy chord progressions through a wall of sound. Case in point: “Charm Offensive.”
“I use a few alternate tunings in the vein of Joni Mitchell, Nick Drake, or Jimmy Page’s acoustic riffs, and we fuzz them out,” Ether says.
“Charm Offensive” offers the first look at Loud Human’s forthcoming EP, which remains a work in progress. The title of the EP is yet to be determined, and “Charm Offensive,” as it appears here, is a raw early mix—the group playing live in the studio with a vocal overdub.
“The new EP is kind of a part 2 to our see, lioning. EP,” Ether adds.
Here, his voice carries a bold and unpolished presence as he careens through dynamic, energetic lyrics that are driven home by a sense of urgency that’s reminiscent of Guided By Voices’ vocalist Robert Pollard.
Johnson and Thomas’s rhythms move at the speed of post-punk and indie rock a la Sebadoh, Mission of Burma, fIREHOSE, and the Wipers.
In the interest of full disclosure, Thomas is the publisher of Record Plug Magazine, the DIY music rag that keeps this writer’s voice in the mix.
All three members of Loud Humans also play in the band Victory Hands alongside Shawn Christopher, crafting a darker, heavier noise rock dirge.
Both Loud Humans’ see, lioning. EP and the forthcoming EP are tentatively slated to appear as flip sides of a 12-inch release that’s due out later in 2024. The proper digital release will most likely arrive in May.
The Electric Nature, Magic Tuber Stringband (NC), Mute Sphere, and Magicicada play Magic Lantern in East Point on Thursday, April 11. Majid Araim will be performing a sound installation piece between sets. $15 (suggested donation, no one will be turned away at the door). 8 p.m. 2171 Star Mist Dr. SW Atlanta 30311.
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Radfest is back after a three-year Global pandemic hiatus! RadATL’s founder celebrates one more year around the sun, this time at Eyedrum Art & Music Gallery on Friday, January 19.
This year’s show features performances by seven post-punk, post-hardcore, and pure noise greats spread across two stages.
Photo courtesy x.nte
Athens-based cassette label \\NULL|ZØNE// gets the party started with a showcase of Georgia-bred noise acts including x.nte, Grant Evans (of Quiet Nights), and label boss Michael Potter’s own project The Electric Nature. Each act is cranking our short, powerful sets that challenge the traditional notions of what music is, and what it can be. Potter has been on the frontier of this scene for a long time, and it’s been far too long since his last Atlanta appearance, so it’s great to have him back.
Gebidan photo by Geoff Knott
Gebidan marks its live debut. The recently founded four-piece features Mike Patton of Orange County’s late ‘70s hardcore outfit Middle Class. The group is often hailed as the first North American hardcore act EVER. Patton’s musical resume also includes time spent playing with Jack from TSOL in the band Cathedral of Tears. He was also in Eddie And The Subtitles, and Trotsky Icepick. But really, check out his credentials on Discogs to see that he worked as a producer and backup vocalist on the Adolescents’ self-titled “blue album.” He also produced the Minutemen’s “Joy” single, along with a handful of other Minutemen releases.
Patton lives in Georgia these days and is singing and playing bass with the new outfit. Gebidan’s first recordings find the group embracing a more abstract, psychedelic take on indie and alternative rock songwriting. Great stuff!
tONY cURTIS photo by Ellen McGrail
WREK 91.1 FM’s “Destroy All Music” co-host and bass player Tony Gordon teams up with guitarist Curtis Stephens for tONY cURTIS. Together, they create a scrapping, smoldering grind of earth rattling textures. Gordon (also of FREEBASS, Zandosis, and Charlie Parker fame) is well aware of the power of subtlety, especially when it’s blasted at maximum volume. The 11 numbers that make up their latest release tc2 lull the ears and the brain into a meditative state by commanding a deeper level of ecstatic listening. Beyond rhythm, beyond melody, and beyond the drone lie the pure sonic textures of steel strings, and they are teeming with abstract beauty and limitless possibilities for the imagination.
Photo courtesy Whiphouse
Whiphouse brings a high-energy and death-afflicted punk dirge to the stage. It’s one of my favorite new bands to emerge from these parts in quite some time. Lots of homies in this group! Michael Keenan, Mike Bison-Beavers, Debbie Beat, Stanley Jackson, and one of my favorite former interns Kelly Stroup! It’s just an awesome assemblage of people tearing up on stage the only way they know how.
Loud Humans
Loud Humans close out the show. More info. coming soon.
This is an ALL AGES SHOW! Doors open at 7 p.m. $10 gets you in. Fri., Jan. 19. 515 Ralph David Abernathy Blvd. Park in the lot across the street if the side street and front lot are full.
Thanks to this year’s sponsors! Eyedrum, Topo Chico, Pabst Blue Ribbon, Emory University’s Stuart A. Rose Manuscript, Archives, and Rare Book Library, Record Plug Magazine, The Tight Bros. Network, and to Dain Johnson who created this year’s magnificent flyer.
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GOLD SPARKLE BAND: Live at the Silver Ceiling circa 1997. Photo by Steve Pomberg
Gold Sparkle Band, one of the most influential and far-reaching ensembles to emerge from Atlanta’s underground music scene of the early ’90s, is returning to headline an evening at Eyedrum Art & Music Gallery on Saturday, October 14. The group’s deft compositions, improvisations, and live performances defined a sophisticated era for Atlanta’s underground music scene, alongside contemporaries such as Smoke, Cat Power, and the Rock*A*Teens. Decades later, the energy the group has wielded since 1994 still resonates within the more adventurous realms of the city’s outsider music and arts scenes.
This show marks the first in a series of events geared toward raising awareness for Eyedrum’s two-night 25th anniversary party happening the weekend of Nov. 11 and 12.
Since August of 1998, two of Gold Sparkle Band’s co-founding members, alto saxophone and reeds player Charles Waters and percussionist Andrew Barker have resided in New York City, where they remain musically active under different iterations of the group’s moniker—mostly as the Gold Sparkle Trio.
For the evening of their Eyedrum performance, Waters and Barker are returning to play two full sets with fellow GSB co-founder and trumpet player Roger Ruzow and longtime bass player Chris Riggenbach.
Other co-founding members, bass players Andrew Burnes and Joe Jamerson are no longer performing with the group. Saxophonist and flautist Rob Mallard, who was also a founding member of GSB, died in 2018.
Gold Sparkle Band. Photo by Thomas Tulis
“Charles and I still communicate pretty much every day,” Ruzow says. “He sends me new music that he’s working on all of the time—any genre that you can imagine. I send him new material pretty much every day as well. We have been talking about getting together to play another show down here for quite some time. When Randy Castello and Will Lawless from Eyedrym contacted us about playing their anniversary, it felt as though the time was right.”
For this show, Waters, Barker, Ruzow, and Riggenbach will perform the first set as a quartet. After that, they’ll lead a second set performing as the Gold Sparkle Big Band, an expanded version of the group that will include tenor sax player Ben Davis (Purkinje Shift, Edgewood Sax Trio, Teardrinker Salts), oboe player Robbie Hunsinger, Jason Casanova (4th Ward Afro Klezmer Orchestra) playing euphonium, flautist Anne Richardson, and pianist Chris Case—nine players total.
“Stylistically speaking, what sets these two performances apart is the extremely high caliber of musicians that are joining in for the large ensemble performance,” Ruzow says. “They will make it an absolute blow out no matter what the hell we decide on playing.”
Throughout the years, improvisation based around deconstructing traditional musical forms while straddling the avant-garde and solid grooves to create an evocative atmosphere has remained at the heart of GSB’s sound. Gold Sparkle Band has long wielded the talents of a world-class jazz unit. Each number is built upon a structured composition—mostly written by Waters—that’s used as a vehicle to drive the melody and the musical ideas that are brought to the fore, while also creating a form and context for the music. Improvisation launches from there, and the music can glide along in a linear, blues-based progression, or it can go full-on primal scream. It all depends on the moment in which the music is created.
The group has collaborated with likeminded musicians ranging from free jazz double bassist and Cecil Taylor cohort William Parker to Chattanooga’s the Shaking Ray Levis. The group’s New York-based members have even collaborated with lauded Chicago free jazz veteran Ken Vandermark for the 2004 CD, Brooklyn Cantos.
The music often sidles up to a simmering middle ground, easing in at first, then skittering to life with muscular, horn-punctuated grooves that barrel through numbers such as “Zodiac Attack” from the Fugue & Flowers album, and “People’s Republic” from Brooklyn Cantos.
Songs from releases such as 1995’s Earth Mover, 1997’s Downsizing, and 1999’s Nu-Soul Zodiac build on an ethos that resembles something of a punk rock aesthetic, although far beit from anything that can be easily categorized.
“Punk is a good touchstone, but what we’re creating is more like a contemplated combustion,” Ruzow says. “In previous years, when we were experimenting with punk aesthetics, it was all about us learning to command a particular energy and direction. Now, we have a slightly better understanding of that energy and how to turn it into something that we drive, rather than it driving us,” he adds. “It incorporates aspects from each of our lives, which are all very different, but connected by a compulsion to play music.”
Gold Sparkle Band playing the Jump Fest at Eyedrum in 2002. Photo by Thomas Tulis
Waters adds: “All of us come from sone kinda analog punk background. Our first bassist Andrew Burnes—he was a superstar and super vital in my process of becoming a ‘composer’—has his hands in the middle of all you describe. Our frequent guitatist Jer Wilms, now back in Atlanta, who worked in a million ensembles and then brought his genius to the Nuzion Big Band, is amazing. We are a band of collaborators and saboteurs, poets, ghosts, and some special sauce that jazz mostly doesn’t have. That is because we are a BAND! We’re a fucking band, and we play each others mistakes, we love each other—sometimes each others others and many in between. Gold Sparkle is a band and thats why we rock and have a future.”
During GSB’s mid-to-late ’90s Atlanta heyday the group could be seen on most nights tearing up stages everywhere from Homage Cafe and Dottie’s to the Moreland Ave. Tavern, the Point, Cotton Club, and Frijoleros. Gold Sparkle Band even shared the stage at the Highlander with John Zorn’s Masada—an ensemble playing compositions inspired by radical Jewish culture. “It was a life-changing experience,” says Ruzow, who now leads the 4th Ward Afro Klezmer Orchestra.
All of the aforementioned venues are long gone—relics of an everychanging cityscape that no longer exists.
The Star Bar, MJQ, and Eyedrum were also regular haunts for the group. But as Waters says, the group still has a future.
For this show, the group will delve into material from their early aughts albums including 2002’s Thunder Reminded Me and Fugues & Flowers.
“During our whole trajectory in New York City, which is semi taking for granted, me and Barker have worked a million gigs and we still love doing it,” Waters says. “Barker leads his trips, and I play my wacky garden chamber music. We just keep on with it.”
Throughout the ‘90s, GSB emerged as a Southern counterpart to the post-rock, indie rock, and free jazz sounds created by Midwestern acts such as Slint, Tortoise, and the Vandermark 5. In a single musical moment, the group’s live performances would unfurl with all the flare of a conventional jazz outfit before drifting into psychedelic clusters of skronk and wail. Each number intimating a cerebral sense of immediacy that defined an innovative and iconoclastic era of Atlanta’s underground music scene, and dovetailed with what was happening with the world at large.
That sound and vision remains as potent as potent as ever, and the future remains wide open.
On Oct. 12, two days before playing Eyedrum, Gold Sparkle Band’s members are hosting a workshop from 6-8 p.m., discussing a hands-on approach to live improvisational musical styles.
WREST is Jack Wright (left), Evan Lipson, and Ben Bennett.
WREST is a free-improvisational jazz and noise outfit featuring alto and soprano saxophone player Jack Wright. Since the late 1970s, Wright has traversed the physical and psychological outer limits of improvisational music. The late, great, Birmingham, Alabama guitarist Davey Williams once called him the “Johnny Appleseed of free improv.”
The collective is rounded out by bass player Evan Lipson and percussionist Ben Bennett. It’s the first round of shows the trio has played together in over seven years. For this show, they’re joined by dancer and movement artist Lucifer.
Someone somewhere once described WREST as sounding akin to two dinosaurs having sexual intercourse in a dumpster, or something like that, which is pretty close to the mark. Skronk, rattle, and roll, y’all!
A few locally-based improv. ensembles are performing as well: Priscilla Smith & Friend of Sunk Nameless and No Tomorrow are on the bill. Thread is an improv outfit left by Jared Pepper of Visitors, Memory Locks, and Apparition Trio. Guitarist Sam Wilson of Fuiste and Plastique will lead an improv ensemble as well.
In April, grindcore outfit Clot unveiled a debut single, titled “Cerebral Calamity,” via Earache Records Distribution.
In 2016, vocalist Christian Perez, who also leads the fractured Americana group Hark, suffered a stroke at the young age of 24 — hence the name Clot. Soon after, his father was involved in a car accident that left him with permanent brain damage. Dealing with these experiences opened up wholly new dimensions of music for Perez and bandmate Yasin Knapp (of math rock outfit Things Amazing, and atmospheric rockers Of The Vine) as a means of finding balance, context, and possibly resolution. Perez writes the lyrics and sings, while Knapp handles the musical arrangements, steeped in a hissing atmosphere of high-speed rhythms, and distortion. Drummer Cameron Austin (Apostle, Of The Vine) unleashes an avalanche of blast beats, pushing the music deeper into the maelstrom.
Bass player Parker Estopinal (of Kid Macho) and guitar player Daniel Weed (Holy Wound and Mannequin Grove) were recruited into Clot after these recordings were made.
Their latest single, “Casual Masochist,” expands upon these themes of real-time confrontation of grief, mortality, and emotional tumult. This time, songwriter and vocalist Perez channels feelings of utter contempt for organized religion and oppression — no matter what form it takes — into lyrics such as “Back up, you bastard. No gods, just masters. Skin stricken with pulsating blisters.”
“Casual Masochist” is a simple, powerful, death-afflicted dirge teeming with shades of grindcore touchstones (Full of Hell, Primitive Man, Old Man Gloom, and so on), but exists in a singularly miasmatic space. Press play below.
A new full-length album is in the works. Keep an ear out for a noiser, and more atmospheric approach with future offerings.
In the meantime, Clot plays Sabbath Brewing on Sun., June 12, with Iron Gag and Fox Wound. Catch them again on Thurs., June 30, When they play Eyedrum with For Your Health, askysoblack, and Royal Scam.
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It’s About Time’s Nathan Emerson performing at Eyedrum. Photo by Chad Radford
What might the last few decades of Atlanta’s underground music scene look like if beer sales weren’t a factor in determining who gets booked to play a show? If the cover charge at the door was simply a donation of whatever you wanted to give? And, most importantly, performers showed up specifically to play something new that they’ve been kicking around, all for an audience that’s hungry for adventurous music — the wilder and the more challenging the better?
Tight Bros. Network promoter Randy Castello christened the Kirkwood Ballers Club at Lenny’s Bar on Memorial Drive (now the site of the live-work-play condo building dubbed The Leonard) in March of 2004. But the idea was initially hatched in the late ‘90s, while hosting late-night parties in the basement at KBC co-founder Unisa Asokan’s house on Martha Ave. in Kirkwood.
“We had a sign in the door that said “Kirkwood Ballers,” Castello says. “Playing music was always the center of attention and the reason for getting together there.”
Castello even recalls one late-night gathering during Kirkwood Ballers Club’s early years in which composer and indie rock/avant-garde luminary David Grubbs (Squirrel Bait, Bastro, and Gastr del Sol) came back to stay at their house after performing at Eyedrum with cellist Nikos Veliotis earlier that evening.
“It was late at night, he was on the road, and we started playing right beneath his room, it had to be so loud,” Castello says. “It got to a point where he came downstairs — he was so cool about it — and said, ‘guys, can we just keep it down.’”
From the beginning, Kirkwood Ballers Club’s mission has always been to, “provide an open forum for experimental musicians and performance artists who’ve found it difficult to get shows elsewhere around town,” Castello says. “I also wanted to create an idea incubator that would allow others to perform and experiment with each other musically, and to create and nurture new creative ensembles.”
In its various incarnations, Kirkwood Ballers Club has created an environment where generations of avant-garde musical energy and talent has flourished throughout periods of existence and inactivity.
During its early years at Lenny’s, a parade of local punk, hip-hop, jazz, and indie rock musicians would sign up to perform including everyone from garage punks and avant-garde musicians Cole Alexander of the Black Lips and Bradford Cox of Deerhunter to Grammy-winning saxophone player Kebbi Williams of Tedeschi Trucks Band. All utilized the format to create music in-the-moment that expanded upon their typical repertoires.
Kebbi Williams. Photo courtesy KBC
“The Kirkwood Ballers Club was always a place of pure freedom,” says Kebbi Williams, who often showed up with large ensembles of musicians who lit up the room with an explosive freeform skroking jazz set.
Years later, Williams facilitates a similarly-minded Sunday evening jazz jam at Gallery 992 in West End, building upon the energy he tapped into while performing during KBC nights.
“I learned from Kirkwood Ballers Club at Lenny’s and from the scene at Eyedrum how to be free,” Williams goes on to say. “I saw some of the most original and provocative things at the Kirkwood Ballers Club, and it totally affected my life as an artist.”
Kirkwood Ballers Club has also drawn the attention of nationally touring acts who happened to be in town for the night. King Khan’s first Atlanta show was a KBC night.
“I remember introducing myself to Arish [King Khan] and he sprayed me in the face with Silly String,” Castello says. “It caught me off guard, and I didn’t know what to say, but it turned out to be a great night!”
Over the years, KBC changed locations, setting up at other now defunct venues along the way, including 11:11 Teahouse, The Highland Ballroom, and The Big House. It even settled in for a late-night incarnation at The Star Bar in Little Five Points for a stint.
Oftentimes other promoters including Matt McCalvin, Waylon Pouncy, and Matt Greenia stepped in to keep it going.
Brad Hoss of Hoss Records and Ryan Rasheed of LebLaze and Prefuse 73 launched a New York version of KBC at Brooklyn venue Zebulon Concert Cafe in 2011.In Atlanta, mashup artist Greg Gillis, aka Girl Talk, songwriter Jana Hunter, and even John Dwyer of psych-punk outfit Osees have also made KBC appearances.
Kirkwood Ballers Club host Sun Christopher. Photo by Chad Radford
In 2021, the rebirth of Eyedrum Art & Music Gallery at its current location brought with it a wholly new iteration of the Kirkwood Ballers Club. Sun Christopher hosts the monthly event as Castello settles into his evolving role as Eyedrum’s Facility Manager.
In the modern era, KBC’s spirit has been embraced by a wholly new generation of musicians, signing up for a 15-minute time slot, all under the evening’s long standing tagline: “Bring an instrument, record, beat, turntable, laptop, prepared piece, song, film score, voice, bag of blood, agenda, youth rebellion …”
Ipek Brooks at Kirkwood Ballers Club. Photo by Chad Radford
Castello adds that, in the past, he never used the term “open mic” in relation to KBC. “I was worried that it would bring out a lot of singer-songwriters playing cover songs, which has happened from time to time.”
In Eyedrum’s new home at 515 Ralph David Abernathy Blvd., a wholly new set of faces has picked up the mantle, ranging from artists reading poetry, gorgeous minimalist piano compositions, blazing industrial beats, and free-form art-rock ensembles have filled out the roster.
Of the more recent staples of KBC’s monthly rounds Mikey and Hoff of the band Upchuck perform regularly with various new outfits. Another next generation fixture is noise artist Nathan Emerson, who performs sometimes solo, sometimes with an ensemble, under the name It’s About time.
It’s About Time’s sets have taken shape as screaming, squelching displays of noise, clanging metal percussion, and feedback, punctuated by blasts of fireworks, and Emerson writhing on the floor in a half-naked state. It’s a blend of real-time catharsis cut from abstract emotions — all set to the tune of old school industrial clatter and confrontation. It is the bleeding edge of the creative spirit that KBC has always nurtured, with precisely the type of DIY pyrotechnics that wouldn’t fly in most small club settings.
“When I first pulled up to Kirkwood Ballers Club I didn’t really know how my act would come across,” Emerson says. “I actually kinda intended to rile people up and maybe stir up the audience a little bit. Which of course did happen, but I think most folks kinda dug what I was doing. It’s so surprising to have a space where someone like myself can perform an explosive act, flogging myself and screaming bloody murder, and not even receive the slightest of heckles. There is simply not a more open and accepting space in Atlanta, in my opinion,” he adds. “Literally all sorts of people can perform whatever their hearts desire there. I’m eternally grateful to have gotten my career started there and continue to perform there whenever I can.”
For Castello, it’s this engagement with the community, and the love of music that keeps Kirkwood Ballers Club coming back.
“Getting something started, getting people to come and maybe they’ll want to start a band or a new project, or just to play music,” Castello says. “That’s what we do here, and that’s what we do it for.”
Brooklyn-based electronic and experimental artist Robert Pepper of Pas Musique returns this Sunday, May 8, for a set of drones, beats, and ambient majesty at Eyedrum. Since 1995, Pepper has led Pas Musique through various incarnations, all the while collaborating with the likes of Rapoon, Z’ev, Faust, Jim Tuite, and more. For this show, Pepper is performing a solo set.
TAYLOR / BURLAND: Scott Burland (left) and Ryan Taylor.
This show also marks the debut performance of the Taylor / Burland guitar duo, featuring ambient-drone artist, noise music fixture, and producer Ryan Taylor, whose credits include working with Rat Mass, Blackfox, AkuYou, Sensitive Chaos, and Eldorado Omega. Scott Burland is the former theremin half of Duet For Theremin and Lap Steel. Together, they’ll explore the spacious, subtle ambiance of resonating steel strings.
.document features Elliott Brabant of Michael Cera Palin. Meaning of Everything is the guitar-based project of Mykel Alder June (formerly of Mice in Cars).
Rad/ATL 