Friday, February 23: Night One
The Vaginas, Blood Circuits, Night Shrines, After Words (playing their first show since 1989), and Bog Monkey. $15. Doors open at 7 p.m.
Saturday, February 24: Night Two
Cemetery Filth, Day Old Man, Shehehe, Breaux!, Los Ojos Muertos, Blind Oath (OK), and Billy Hangfire $15. Doors open at 7 p.m.
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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.
In the meantime, press play above and catch their set headlining Radfest at Eyedrum Art & Music Gallery on Friday, January 19.
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Gentleman Jesse Smith headlines the 7-inch release party for the “Where Time Stands Still” b/w “Return of the Mack” single due out in February 2024. This single is no. 12 in the ongoing Drunk Dial series, and features contributions from Greg King of GG King and Carbonas fame, as well as Ryan Bell of Bukkake Boys, Ryan Dinosaur, Scavenger of Death, et al.
For those who are unfamiliar, the Drunk Dial series invites artists to get drunk and write and record one original song and one cover of a classic tune in the same session. Both numbers will be released as a 7-inch. “Where Time Stands Still” is the Gentleman Jesse original. “Return of the Mack” is a cover of Mark Morrison’s song which appears on the 1996 album Return of the Mack. Pre-order the single here.
The Hypos, a new collaboration featuring veteran songwriters Greg Cartwright (Reigning Sound) and Scott McMicken (Dr. Dog), joined by some of Memphis and Asheville’s finest players (Evan Martin, Kevin Williams, and Krista Wroten) also perform. The almighty Subsonics open the show.
$15. 7:30 p.m. (doors). 8 p.m. (music).
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King Buzzo, the singer, guitar player, and frontman of the almighty Melvins joins composer and Ahleuchatistas and Mr. Bungle bass player Trevor Dunn for the long-awaited “King Dunn” acoustic summer tour.
Over the years, Buzz and Dunn have worked on several projects including Fantômas, the Melvins Lite 2012 album Freak Puke, and the 2022 LP titled Gift Of Sacrifice. Their most recently released collaborations arrived in 2022 as two four-song EPs titled Invention Of Hysteria (Amphetamine Reptile Records) and I’m Afraid Of Everything (Riverworm Records). In April 2024, they released another EP titled Eat The Spray (AmRep). These songs materialized as pandemic restrictions were lifting, which is to say they haven’t had much time for touring with this material together until now.
For those who are unfamiliar, Buzz and Dunn’s paired-down offerings do not yield the full-bore sonic onslaught of distortion and wild rhythms that one gets from a Melvins or Mr. Bungle record. There are no drums. However, when playing one-on-one they craft a spacious atmosphere that ranges from cinematic to downright haunting, summoning a dark ambiance from the natural resonance of their respective voices and stringed instruments. Each song delivers an ominous traipse of psychological and physical tension by subtle but no less affecting means.
J.D. Pinkus of the Butthole Surfers, Daddy Longhead, sometimes the Melvins, and more lands in the middle slot commanding a set of cosmic banjo strumming from the deranged outer limits. It’s all set to a beautifully hallucinatory visual display. Press play below to check out a couple of cuts from Pinkus’ latest offering, Grow A Pear!
Atlanta-based abstract electronic project Void Manes sets the night in motion with a dazzling array of modular synths and analogue gear wrapped in a galaxy of multi-colored cables. The one-man outfit explores dreamtime and nightmare soundscapes, striking a balance between atmospheric noise and melody; drones and sub-bass swells that rise and fall in fugue-like moments of rhythms, sonic impressionism, and chaos.
$25 (adv). $30 (door). Monday, April 29. 7 p.m. The 40 Watt Club in Athens.
$29.50 (advance). Friday, September 13. 7 p.m. (doors). The Masquerade (Hell).
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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.
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 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!
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.
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 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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Agnostic Front, Murphy’s Law, and Grade 2 play the Masquerade on Monday, December 18. $25. 7 p.m. (doors).
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Drivin’ N Cryin’ and Lynx Deluxe’s roots are deeply intertwined, reaching back nearly to the beginning of both groups.
Naturally, Lynx Deluxe’s rendition of “(Whatever Happened to) The Great American Bubble Factory?”—the latest single to arrive from the 100-song Let’s Go Dancing: Said the Firefly to the Hurricane, A Compilation Celebrating the Songs of Kevn Kinney—is filled with nods to both groups’ shared past. Their cover of the songs also casts new light on the glorious nuances of Kinney’s songwriting, illuminating just how emotionally powerful an instrument he possesses.
In the summer of 1981, Drivin’ N Cryin’s bass player Tim Nielsen and drummer Paul Lenz started playing music together as the rhythm section for Atlanta pub rock/punk outfit the Nightporters. The group, which also included singer and guitar player Andy Browne, carved a path through Georgia’s burgeoning underground punk and new wave scenes, sharing stages with legendary acts such as the Clash, REM, and the Replacements.
The Nightporters infused unabashed angst and joy in equal measures into their three-minute, three-chord songs with titles such as “Mona Lisa,” “Dreamin,’” and “West of Eden,” detailing their teenage worldview—yes, some of them were still in high school at the time. Browne was only 15 years old when the group started.
Fast-forward some 42 years later: Browne fronts the baroque alternative rock songwriting machine that is Lynx Deluxe. Backed by a lineup featuring bass player Lucy Theodora, drummer Brad Mattson, keyboard player Billy Fields, and guitar player Jeff Dean, the group’s take on “The Great American Bubble Factory” is a stylish and bucolic affair. Their cover pays homage to Kinney’s original number while reflecting on how industry outsourcing has affected the American economy and changed the landscape and middle class American culture as a whole.
“The Great American Bubble Factory” embraces a sense of nostalgia for a happier time and place in America, when daily life seemed simpler and more prosperous.
Kinney makes a cameo appearance in the song, playing harmonica, and Nielsen plays mandolin, making it the only song on the comp. to feature Drivin’ N Cryin’s two longest standing players.
Lynx Deluxe renders “The Great American Bubble Factory” even more precarious than the original, pushing the narrative forward by expanding upon Kinney’s lyrics in deeply personal ways.
In the second verse, Browne sings, “Did some time for a crime went a little loco / Slaved for two bits a day praying for a furlough.”
As Browne explains, it’s all a true story.
“I was in jail for 80 days, because I went a little loco,” Browne says. “The prescription oxycontin I was on for eight years due to a severe back injury left my dopamine and serotonin levels not so balanced for about a year and half. I was not exactly in the right state of mind, and was going through a very difficult time. While I was in there I was trying to get in the kitchen to work and make like .50¢ to $1 a day,” he adds. “But they wouldn’t let me do it.”
Later, Browne blends yet another homage into the song, this time giving a nod to “Union Sundown” from Bob Dylan’s 1981 LP Infidels. “Her dress reads Mozambique / This flashlights from Taiwan / These boots are from the Far East / Boxed and shipped from Amazon / The car parts come from China / Fenders made in Mexico,” he sings before calling back to the original number’s refrain, “If you can make it here, why you build it there?”
This new vision of “The Great American Bubble Factory” unfolds with an even greater sense of unwavering determination.
“We’re not much of a cover band,” Browne goes on to say. “When we pick a song to cover, we have to rewrite it a bit and make it our own.”
Songs for this living tribute project are amassing over the next 10 months. Previously released singles can be found here.
The first physical installment is available on vinyl now. Check it all out via TastyGoodyRecords.com.
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Saddam Death Cave, Scratch Offs, and Blood Circuits play The Earl on Fri., Dec. 8. $12 (advance). $14 (day of show).
All three bands on stage this evening feature longtime friends who cut their teeth in a more civilized era of hardcore, post-hardcore, and indie rock—the ‘90s. Now, they’re elder statesmen of the scene, raising the bar high while fusing furious rock, noise, and angular riffs without pretense. It’s called experience, kids.
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Brooklyn’s Pyrex joins Die Slaughterhaus Records’ new wave of grimey post-punk adversaries with the “Struck Down” b/w “Staying Alive” 7-inch.
Both numbers plunge the group into menacing depths of real-world dejection while revealing a dark sense of humor. Atlanta expat. guitar player and vocalist Joe Hardwick, bass player Arbon Elrich, and drummer Steven Fisher summon bludgeoning intensity with “Struck Down.”
On the flipside, a perfectly nasty cover of the Bee Gees’ disco-era classic “Staying Alive” feels like a Killed By Death deep cut that was captured at a construction site—grounded in dense rhythm and noise—as Hardwick’s distorted growl finds new meaning in the lyrics, “Life goin’ nowhere, somebody help me.”
NOTE: The digital versions of these songs, mastered by Graham Tavel, sound notably crisp when compared to the spacious and deeply textured vinyl renderings that are courtesy of Ryan Bell.
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A version of this review first appeared in the November issue of Record Plug Magazine. Grab a print copy at your nearest record store, coffee shop, pizza place, or music venue.
Scratch Offs hit hard with Tidal Wave, an 11-song debut that distills the traditions of post-hardcore’s top-tier and most forward-thinking luminaries—Fugazi, Hot Snakes, Jawbreaker, Quicksand, Helmet, et. al.—into a streamlined and modern-sounding opening salvo.
Variety is key when propelling vocalist Mike Ligocki’s penchant for screaming melodic catharsis. Ligocki’s voice sits high atop guitar players David Lane and Jason Beebe’s winding riffs, melodies, and leads in songs such as “Puma,” B.Y.R.,” and standout cuts “Hand Replacements” and “The Chapel.” Each number draws out a balance of naked and gnarly emotions with driving force.
Bass player Lloyd Benjamin and percussionist Greg Stevens’ pounding rhythms show off depth and confidence. Together, their musical chemistry epitomizes strength, intelligence, and a full-bodied groove while exploring complex structures and tense dynamics, never losing sight of the rhythm and the sprinting momentum of the song they’re playing. The flexed arrangements of “Mountain of Light” and the powerful charge of “Jesus Night” and “Text Fight” are steeped in unrelenting tension and atmosphere—the accumulated experiences of a band made up mostly of Atlanta punk and post-hardcore scene vets. Lane plays in Skin Jobs, and has been playing alongside Stevens since circa 2001 when they made up the rhythm section for noise rock trio Hex Error.
Benjamin was in All Night Drug Prowling Wolves and is in Uneven Lanes with Stevens, who also plays in Total Peace Band. Beebe played in the Liverhearts and recorded a grip of singles for Rob’s House Records in the early-to-mid aughts. Ligocki is a Maryland-born, New York City transplant who cut his teeth playing with East Coast bands Bound & Buried (with Matt Krupanski from Boy Sets Fire on drums), Habits, and Killtakers. Look them all up! As such, Tidal Wave is an accomplished and formidable collection of fast-urgent punk and post-hardcore anthems that draw from the past to promise a bright future.
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