It’s another Bandcamp Friday! 12 ATL release for your pandemic playlist

It’s another Bandcamp Friday! If you want to spread a some love, support, and a little cash to some local artists today—or any other day for that matter—here’s a quick list of releases I’ve been blasting throughout this whole global pandemic thing.


Warm Red’s debut album, Decades of Breakfast is out now. Vinyl copies should be arriving any day now via State Laughter Records. In the meantime, catch this bit of Atlanta post-punk’s saving grace on Bandcamp. For fans of the Birthday Party, the Jesus Lizard, early Pere Ubu and the likes.



Lowtown has a self-titled, six-song EP posted up on Bandcamp right now. Guitar player and singer Beaux Neal shows off an impressive vocal range, and the group of musicians on the album—singer and guitarist John Pierce, drummer Russell Rockwell, and bass player Aidan Burns—create a rich and mysterious Southern post-indie rock ambiance.



Thousandaire’s self-titled LP (The Colonel Records) has been making the rounds for a few months now, and you know I’ve been championing it from the beginning. The riffs have only become more potent over time. It’s got that Pavement, Superchunk, Meat Puppets, Dinosaur Jr., mid-’80s SST kind of vibe going on, and we could all use a bit more of that in our lives right about now.



Zano Bathroom has a new full-length out, titled Afrikan Sciences Presents: Zano Bathroom’s Universe From A Different Hip Hop. True to the album’s name, this is hip-hop from the outer limits— culled from the same hallowed Huntsville, Alabama soil that transformed the man Herman Poole Blount into the almighty Sun Ra. Zano has never been afraid to dive headlong into some abstract, avant-garde places while honing killer beats and rhymes. For this offering he joins forces with his old cohort Eric Porter aka Afrikan Sciences, and they take hip-hop to deeper into the cosmos than ever before.



Misanthropic Aggression is back with the Covid-19 Reset EP via Boris Records. The tape features six new songs that find bass player and vocalist Jake Benedict taking over drumming duties—at least for this recording—alongside vocalist and guitar player Chris Hammer. The first song to be released from the EP, titled “The Effect of COVID-19 Isolation on the Mind / Unda Nona” is a twisted maze of scream therapy that goes head-on with quarantine/election season anxiety. The Full EP is available on Bandcamp now, with a handful of bundle packages available. Tapes are out November 17.



Adam McIntyre of the Pinx recently released Black Planet, is a twisted rock excursion that finds McIntyre embracing a mixed bag of musical elements (free jazz, funk, and so)—sounds that he’s been denying himself for years, while keeping the Pinx on course as a modern psychedelic rock band from the South.



Symbiote’s latest five-song, Privilege Of A Daydream, blasts five cuts of no nonsense screaming, riffing, classic hardcore, with no real guitar leads to speak of. It’s a powerful and direct release that’s primed for a year of socio-political turmoil.


In August, death rock and goth-punk trio Tears for the Dying unveiled their second full-length, titled Memories. The album was engineered and produced by Tom Ashton of the March Violets, and recorded at Subvon Studio in Athens. Adria Schlenker, Debra Beat, and Candy Cancer shed the keyboard for most of the album’s tracks in favor of a raw, guitar-driven assault—all three members share guitar and bass duties here. Check out that smoldering cover of Christian Death’s “Spiritual Cramp”!



It’s been a minute since Cave Bat last checked in. Cetacean Creation finds the reconfigured experimental musical trio of Nathan Brown, Priscilla Smith, and Phi (Rob Sepanski) returning with a more song-oriented approach to their sci-fi soundscapes.



Nicol Eltzroth Rosendorf‘s latest LP, Big Other features four musical pieces that are bursting at the seams with droning beauty, anxiety, texture, and ambiance. The album includes contributions from Jarboe (SWANS), James Joyce (Cheifs, Noot ‘d Noot, Car Vs. Driver), Shannon Mulvaney (MaganpopAnna Kramer, Clobber), Brian Halloran (Smoke, W8ing4UFOs), Billy Fields (Follow For Now, Dionne Farris, W8ing4UFOs), and Xander Cook, with liner notes by author Blake Butler.



Near and dear to my heart, the Cheifs’ four-song 7-inch (Missing Fink Records) stamps in time bass player and vocalist Bob Glassley’s next generation Cheifs lineup—drummer James Joyce, guitarist Scott Hedeen, and vocalist Brad Castlen—expanding beyond the original L.A. hardcore outfits early ‘80s repertoire. It’s an Atlanta punk rock sleeper classic, mixed by Bill Stevenson of the Descendents! I was honored to write the liner notes for this one and final offering from the group.



Duet For Theremin and Lap Steel‘s Scott Burland and Frank Schultz returned this year with a new, eight-song masterpiece of haunting, luminous atmosphere, titled Halocline. Read an interview with Burland and Schultz on RadATL!

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‘Creature’s Surfin’ Shindig’ in Flagpole

My review of Missing Fink RecordsCreature’s Surfin Shindig compilation LP is in this week’s Flagpole Magazine. It’s the culmination of the landlocked Augusta, GA label’s dedication to probing the outer limits of where rockabilly, punk and surf sounds collide with sci-fi cinema and monster movies from the 1950s.

There’s a ton of great stuff on this comp. Didi Wray, Fred Schneider and the Superions, Messer Chups, and more. Check it out at Flagpole!

The Cheifs: Liner notes for the group’s final 7-inch


I was honored to write the liner notes for the new and final 7-inch by the Cheifs.

Bob Glassley was a man out of time. He was a hardcore sleeper cell who reawakened in 2016 with the uncompromising spirit and forgotten insights of Los Angeles’ early ‘80s punk snarl…in Atlanta. And he arrived like a thief in the night.

James Joyce called me that summer to ask if I remembered or knew anything about an old punk band from California called the Cheifs. He explained to me that he had been tapped to play drums with a new version of the group and wanted to know if I was interested in doing a piece on them for Creative Loafing. It wasn’t long after that we were all gathered around a table at Manuel’s Tavern discussing the legend of the band, and listening to Bob’s stories about his involvement in the early West Coast hardcore punk scene. Absorbing so much Cheifs history and lore was like discovering another great band that had been there all along, albeit buried by the sands of time, now uncovered and brought into full view.

At the end of 1982 in a set of circumstances singular to Bob’s life, he stepped away from punk and playing music altogether. He traded his bass for a computer and never looked back. As a result, his knowledge and familiarity with punk was a perfectly preserved time capsule. It also fostered a beautiful state of arrested development; he knew West Coast punk circa 1978-1982, but nothing beyond that. However, he understood the art of the outsider, the art of being an individual driven by righteousness, and the self-reliance of punk before fashion and hairstyles eclipsed the lifestyle, and before mainstream attention introduced the elements of violence and intolerance that ultimately pulled the scene apart.

Bob’s return to music was a reaction to right-wing influences gaining a stranglehold on America. He took a no-bullshit political stance –– he was outspoken with his opinions, and punk gave him direction and purpose in the shadow of the Trump presidency. But Bob also projected a raw, down-to-earth wisdom, and a forgotten knowledge and etiquette that affected everyone with whom he crossed paths, from his bandmates to the faces in the crowd. While loading out after playing shows at The Earl and 529 in East Atlanta, he connected with homeless people who were asking for spare change. He treated everyone with dignity and respect.

With the new Cheifs lineup in place, the group gigged hard in Atlanta and eventually the Los Angeles area. Bob seemed to know, maybe subconsciously, that he didn’t have much time left on earth. Not wasting any time, the group played and recorded as quickly and as often as possible. Whenever Bob took the stage wearing a “We the People” T-shirt (brandishing an image of the Constitution of the United States), he embraced the audience, reveling in the moment and screaming defiantly into the void of mortality.

On Tuesday, October 17, 2017, Bob unexpectedly died of complications related to liver cancer. He had been diagnosed with the disease a mere two weeks prior. He was 58. The following Saturday the Cheifs were set to play a sold-out show at the Masquerade supporting the Descendents, a big coup for the new lineup. Just four nights after his death, the Descendents opened the show by unleashing the most powerfully cathartic blast of “Everything Sux” the group had ever performed.

During the encore, James, Brad, and Scott joined Milo and Karl on stage for one last send-off, playing four final Cheifs songs as a dedication to Bob, and to all that the new lineup had worked to create.

The four songs captured here are bookends to the Cheifs legacy. Both “1988” and “Heart In Chains” were originally written and performed by Bob’s pre-Cheifs band, Portland, Oregon’s Rubbers. On the B-side, “Alienated” is a new jam that Bob penned. Loosely based on a forgotten early Cheifs song, “Mechanical Man” was partially reconstructed from memory, and hammered into a new form by the current lineup.

The 7” single you now hold in your hands stamps in time the one-year period of intense creativity and rediscovery that Bob and the reignited Cheifs unleashed. The distillation of ’80s punk songwriting and hardcore’s graceful, physical melodies, filtered through a lens of contemporary production, is filled with a new fire and spirit, channeled into a lifetime of fierce, empowering, and truly timeless songs. Fuck cancer. Cheif Out! — Chad Radford