Saturday July 15 @ Drunken Unicorn / MJQ Cafe | 736 Ponce De Leon Ave 
Sedition Atlanta & Tight Bros present:
RND Dept
10pm | $5-10 | 21+
The combination of electronic instrumentalist Seth Sher and vocalist Heather Gable is producing a wild confluence of synth-pop, techno and a heaping spoonful of '80s industrial music, while not coming across as a sort of revivalist act. It's a fresh sound that's sexy, groovy and maybe just a little bit scary. Over those entrancing beats we hear a mesmerizing array of atmospheric washes fading in and out, providing counter beats. You might not think of macabre sounds and themes to be the center of a dance party--or maybe you are that type--but HIDE's songs have a truly percussive nature that makes them danceable. Gabel's elongated vocal phrasing adds to the creep factor of the songs; they aren't obviously melodic. This isn't meant as a slight to Gabel's vocal work or skills, as she uses her voice quite effectively and has a pretty good range. The vocals add another layer of eerie atmospherics to the songs. They stand out from a lot of the other tones used, but they never overpower them. And when Sher adds a harmony to Gabel's leads, it creates a haunting sound that can send shivers down the spine.

DJ Silkwolf will spin the after party in the MJQ Cafe and keep the party going into the night! Since 1998, Destin Jacobus / Silk Wolf has been an Atlanta based tastemaker and trendsetter known for his unique sound of custom edits, remixes and underground track selection. With a diverse sound influenced by Italo, Techno, 80s Industrial & Goth, Horror Soundtracks and House music, it's easy to see why he's been referred to as "The Jack Skellington of House Music". His diverse repertoire has led him to perform with a wide variety of artists such as Crystal Castles, Skream, Charles Feelgood, Calvin Harris, Keoki, DJ Pierre, Angel Alanis, Tommie Sunshine, Bird Peterson, Treasure Fingers, Mr V and even DJing along side members of Ministry, Ladytron, Marilyn Manson, Rob Zombie, Nine Inch Nails, The Faint & Combichrist. Look for his DJ sets to range from dark and dirty to deep and smooth: the duality of class versus trash... the blended sound of furry handcuffs, scary movies, and vodka soaked late night dancefloors. Simply put, this creature of the night knows how to make things move.

ZY_GOTE (Crunch Pod Records)
Local industrial techno/noise artist Stan Theman Pavlov has been an avid supporter of the Atlanta scene and a fixture at many local events. Having experimented with production and industrial noise for years under the name "The Sound of Paranoia", his new project fuses elements of industrial dance with tribal, noise, and a healthy dose of sampling. Zy_Gote's electronic wizardry has opened for the likes of iVardensphere, Cyanotic, Dismantled, and Stoneburner. Pavlov's latest works center around harsh techno, but still maintain the level of grit his local followers have come to expect. His debut release "Potential for Destruction" is out on Crunch Pod Records.

Making His Sedition Debut and opening up the night will be modular synth artist Adam Filipkowski with his project RND DEPT.

Monday July 24 @ Drunken UNicorn | 736 Ponce De Leon Ave  
ATL KVLT presents
Uniform (ATL)
9pm | All Ages | $8
Politically speaking, not much has changed about the way Institute exists as a band since signing to Sacred Bones. Having members in Glue, Wiccans, and Back to Back, all fellow stalwarts of the Texas punk scene, helps streamline the approach for them, as all of their bands operate from the same basic ethos. In fact, singer Moses Brown has said they're only comfortable being on Sacred Bones because he considers the label "a punk label on steroids." (A note from the label--"Drugs, yes. Steroids, usually no.")

After demoing for several weeks at home in Austin, the anarcho punk band Institute tracked and mixed Catharsis in just four days between Christmas and New Year's Eve 2014, in New York City with Ben Greenberg at Brooklyn's Gary's Electric. "Cheerlessness" carves out the perfect trine foundation to aspect both the anthemic "Cheaptime Morals" and the much looser jam "Christian Right" (the latter featuring fellow Texan Andrew Savage of Parquet Courts). Issues of morality, sexuality and religion are all interwoven seamlessly throughout the 10 tracks as the band explores new sonic astral space.

Wednesday September 6 @ Variety Playhouse | 1099 Euclid Ave NE
Atlanta, GA 30307
Triple D's & Tight Bros present:
7pm | $20 | All Ages
Thee Oh Sees are the latest incarnation of songwriter, singer, guitarist (and Castle Face fearless leader) John Dwyer's ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late '90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.
In time OCS morphed into an actual band, and worked under the usual flurry of names, most notably as the Oh Sees or the Ohsees, and eventually as Thee Oh Sees, featuring Dwyer on guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit (sometimes listed as Petey Dammit!) on guitar, and Mike Shoun on drums. Along with a relocation to Los Angeles in 2014 the band has re-spawned a few times into their current incarnation of Tim Hellman on bass, Dan Rincon and Paul Quattrone on drums.

Sunday September 10 @ Aisle 5 (Little 5 Points) | 1123 Euclid Ave NE, Atlanta, Georgia 30307  
Tight Bros & Triple D's present
8pm | $15 | All Ages
Crawl Space documents Tei Shi's transformation from the cautious and curious new kid on the block to a confident, self-possessed artist. Written and recorded over a year and a half, the album traces a much wider arc, from Tei Shi's earliest musical explorations to this, her first long player. Growth is never easy, though, and if the title makes the process sound difficult, even claustrophobic, that's because it was. In fact, there is a palpable physicality surrounding this record, and it reveals itself everywhere: from the album's song titles (Keep Running, Lift Me), to its rhythms, to its astonishing cover art. Constant motion is a fact of life. A real, physical crawlspace fits only one person and demands that person move forward, out and through it. Tei Shi's debut evokes that feeling and the experience of centering oneself, changing focus.

Born Valerie Teicher, Tei Shi remembers composing songs as early as eight years old -- sometimes in a diary, other times recording herself on tapes (some of which are featured on the album) -- setting down phrases or melodies as they came to her. Born in Buenos Aires and growing up between Bogota, Colombia and Vancouver, Canada, she began dreaming of herself as a singer, a performer and an

artist. Perhaps symbolic of this newfound determination, around the same time, she struggled with an extreme fear of the night and entered a period of insomnia. To combat this new fear of the dark and unknown she forced herself to hide inside her family home's crawlspace for a minute each night, in order to confront her fear. This crawl space became a sort of symbol for her at this formative phase of her life.

Teicher treated her musical aspirations the same way for some time - comforting and important, but still secret, still too personal to really show the world. "For the first year or two, I was testing the waters," she says. "I wanted to be in the background a bit, to put the music out there and have it be more of an abstract thing. All of the earlier artwork was a little more ethereal, too; it didn't have me on it." Even as she began to study and release music, this instinct to hide kept a hold on her.

With each new song and performance, however, successes and encouragement began to pile up and while at the beginning Tei Shi flourished in a collaborative and peer-based environment she realized over time she needed to reclaim her own singular creative space. "I started to realize I didn't have a clear sense of myself as an artist independent from the people I was surrounded by," she says. Ultimately it took the end of a relationship that had begun around the inception of herself as Tei Shi to spearhead her own musical development. "That relationship was not only a huge part of my life, it was an integral part of the identity I had formed around Tei Shi," she explains. "It had spanned my whole experience as Tei Shi and had been very interwoven with it." That breakup came to a head partway through recording the songs that would come to make up Crawl Space, and while the relationship is deeply embedded into the album, the songs explore something less like heartbreak, something closer to the deconstruction of identity.

Throughout every song, Tei Shi brings a remarkable clarity to the very act of vulnerability, to exposing oneself and inviting others in. Album opener and lead single "Keep Running" is as telling a song as any, balancing futuristic, deconstructed pop with an expert dash of something new wave, almost italo-disco. Tei Shi's voice cuts through with a sweet melody and a warning to "keep running, keep running for me." It is as much a command as an act of mercy, and the urgency is met with the finality of a refrain that "time is up." "How Far", a song Tei She describes as among her most personal and fulfilling, is minimal but bent on pushing maximal limits. As Tei Shi's soprano reaches dizzying heights, "How Far" explores what we to do when a relationship becomes destructive, when you're trying to change one another into something the other person simply can't be. Here, Tei Shi wonders aloud how much can one person or even one bond between two people take before it falls apart, as she asserts that "If it pleases you to see me struggling, I will...If it pleases you to see me sorry, I'm not." "Say You Do" follows immediately and doubles down. Tei Shi's voice is crystal clear and unaffected here, her self-awareness front and center.

"Earlier in my career, I hid because I wanted first and foremost to be seen as a creative person making music. I thought that if I presented myself as a singer people wouldn't get that I write, that I produce too. "People have this idea that you can only check some of the proverbial boxes as a creative woman, that you can't be attractive and sexual and a great singer and a solid performer and a great writer and be in control of your creative space, as if some of those are mutually exclusive for a human woman. My ambition is to represent all of those without having to sacrifice one for the other.

Like the album's themes, its visual concepts reflect Tei Shi's personal sea changes. Visual nods to motifs like Flashdance were never intentional, but make sense in hindsight. "I wanted something more raw, feminine and sexy but still real," says Tei Shi. She counts artists like Fiona Apple, Debbie Harry, and PJ Harvey among her inspirations -- women who sexualized themselves in a way that wasn't contrived but instead elevated each's independence and creative authority. "For this record, I definitely realized I want to be identifiable as me, my personality and my music. You want that connection, you want people to get who you are, so you have to show them." Similarly, Crawl Space would be incomplete without the gorgeous "Como Si", a nod to Tei Shi's childhood in Colombia and her bilingual upbringing. Originally written as a poem before she set it to a melody, it is the first song Tei Shi has ever released in Spanish. "I really wanted to do something in Spanish because it's such a big part of my identity. I love the language and it's a way of preserving this part of myself.

Crawl Space traces the arc of major changes across every facet of Tei Shi's life, and embodies the sound of an artist creating and commanding her own space. And while the process can be claustrophobic, Tei Shi proves that it can also be liberating, even exhilarating.

Friday September 15 @ Drunken Unicorn | 736 Ponce De Leon Ave  
9pm | $8 | 18+
Dust Moth first stormed out of the gates as a six-piece juggernaut of veterans from Seattle's music community. Their debut EP Dragon Mouth was a tightly crafted amalgam of rhythmic brawn, mournful melodies, and dreamy atmospherics. It was as if the bass and drum combo of Jawbox was paired with the guitar work of Doves and capped off with the assertively feminine vocals of Chelsea Wolfe.

"So it goes" is the primary recurring refrain in Kurt Vonnegut's Slaughterhouse Five. It's a nihilistic phrase--a resigned response to death and tragedy. Its repetition throughout the book is a kind of attrition, with the despair and inhumanity of war being reiterated until it borders on absurdity. Other refrains make multiple appearances in the book. The narrator describes his drunken breath as "mustard gas and roses." Later, that same phrase is used to describe the smell of corpses after the bombing of Dresden. "Mustard gas and roses" becomes its own type of attrition, a repeated bombardment and reminder of our crimes, from petty inebriations to horrific massacres.

Guitarist Mike Gallagher understands how repetition can serve as an attack strategy. Over the course of five albums, Gallagher's old band Isis demonstrated how simple recurring motifs could build into earthquaking climaxes. And in his spare time, he constructed paired down models of this principle under his solo moniker MGR (Mustard Gas & Roses). Armed with little more than a guitar, some effects, and the occasional auxiliary instruments, Gallagher composed instrumental pieces that fluctuated between whispers and cataclysms. It was a strategy on par with his namesake's creator: rather than bludgeoning the audience with horror, minor dramas were threaded together into blanketing tapestries of tragedy. The first three MGR albums, Nova Lux, Wavering on the Cresting Heft, and 22nd of May were as intimate as a narrator's breath and as harrowing as sifting through the wreckage of battle.

But then Gallagher took a moment away from music. "After Isis disbanded in 2010, I wasn't too busy with music and I thought I might be done playing in bands," he says of his hiatus. It was only when an invitation came to open a European tour for A Storm Of Light that MGR was resurrected. Gallagher recruited some of his tourmates to play with him, creating a full-band version of MGR. Shortly after, Boris and Pelican offered MGR some California dates, and Gallagher enlisted Jay Bennett (Ides of Gemini, Black Mare), Bryan Tulao (Chelsea Wolfe, Black Math Horseman, Mother Tongue), and Sash Popovic (Black Math Horseman, Mother Tongue) to round out MGR into a proper band. With this full-band line-up, MGR recorded its third album, Becoming.

It's an appropriate title for an album that feels like a transition into a new phase of MGR. While the eight songs on Becoming adhere to the pensive gloom of Gallagher's past work, the full band arrangements allow the compositions to build into even more grandiose apexes. From the rolling boil of the opener "Closer" to crushing chords of album finale "Rise", MGR explores their newfound boundaries of volume and dynamics afforded by the addition of dueling guitars, drums, and bass. Even besides the added heft from the rhythm section and second guitarist, there are new sonic forays for MGR on their latest album. Title track "Becoming" is a shining example of an expanded palette, with acoustic guitars and chanted vocals summoning the kind of dark folk music championed by Michael Gira and David Eugene Edwards. These more nuanced moments are offset by the minimalist bludgeoning of tracks like "As One", which conjures the brute instrumentals of Dutch post-metal pioneers Gore.

Becoming is the rebirth of MGR. And while vestiges of Gallagher's brooding isolated ballads can still be heard in the orchestrated roar of his revamped project, it feels very much like a resurrection, a second life. So it goes.

Saturday September 23 @ Terminal West | 887 West Marietta St. Studio C
Atlanta, GA
Triple D's, Tight Bros, Terminal West present:
8pm | $20 | 18+
A former black metal guitarist who switched to dark synthwave, James Kent aka Perturbator got his genre-free attitude toward music from his parents, one of them being rock critic Nick Kent. He was given a Pantera album at the age of three, and a guitar at the age of 11. After learning Tool and Slayer riffs on the guitar, he began writing his own music, but Mom and Dad's synth collection was also calling, and the younger Kent took to the keyboards with both metal and cyberpunk attitudes. He debuted his sound with the 2012 EP Night Driving Avenger while two albums, Terror 404 and I Am the Night, arrived that same year. The combination of retro-techno and aggression attracted the developers of the campy and violent video game Hotline Miami, who added Perturbator to contribute to the 2012 game's soundtrack. The Sexualizer EP followed in 2013, and was reissued by the Finnish extreme metal label Blood Music. The label also issued Perturbator's concept LP Dangerous Days in 2014. Work on the Hotline Miami 2: Wrong Number soundtrack followed in 2015, then Dangerous Days' story of a religion using technology to persuade followers was continued on the 2016 concept album The Uncanny Valley. ~ David Jeffries, Rovi

Tuesday October 3 @ Drunken Unicorn | 736 Ponce de Leon Ave NE, Atlanta, Georgia 30306  
Tight Bros & SpeakeasyPromo present:
Birds Of Avalon
9pm | $12 | All Ages
Meaning all things magick and supernatural the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light. Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. In Chinese Yin means "the shady side of the hill" and is associated with the feminine, darkness, night, earth. Following this logic Vol. 1, embraces and embodies Moon Duo's darker qualities -released appropriately on February 3rd, in the heart of winter in the Northern Hemisphere. Yang means "the bright side of the hill" and is associated with the male, sun, light and the spirit of heaven and as such Vol. 2 explores the light and airy elements of Moon Duo's complex psyche, and will be released in the spring as the darkness of winter is replaced by the appearance of new life. Written and recorded in their hometown of Portland, Oregon, the two-part epic reflects the hidden energies of rainclouds and sunshine and the deep creep of Northwest forests along with their effect on the psyche, inspired by the occult and esoteric literature of Mary Anne Atwood, Aleister Crowley, Colin Wilson, and Manly P. Hall. According to guitarist Ripley Johnson, "the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There's something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and hermetic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe."Adds keyboardist Sanae Yamada, "the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain."

Sonically the new records represent a dimensional shift in perspective for the band. Just as the season of autumn represents letting go in the form of trees shedding leaves, so Occult Architecture is a shedding of genre tropes, and an inviting in of new textures and soundscapes reflective of the album's shimmering Yin/Yang qualities. Intricately structured, it is threads, fragments and traces rather than the direct influences that are heard. Yet listen carefully and clattering of bongos reminiscent of Popol Vuh, the fuzzy synth grind of Throbbing Gristle, the no-fi guitar of Chrome and the echoing infinity of Achim Reichel might all be discerned. More fragments, threads and traces are apparent in the form of the haunting and trance-like vocals which whisper and wail in between. Meanwhile, a deep interest in synthesis is evident throughout, especially in the keyboard work of Yamada: "I try to employ synths in a really visceral way - so they sound alive and kind of violent at times. On this record I wanted the synth parts to be like textural animals that writhe around one another and react to their surroundings."The rhythm and drum duties on the recordings fell to regular tour drummer John Jeffrey, who weaves into the pattern spooky percussion and funk-inspired electro-acoustic beats. The albums were mixed separately with longtime collaborator Jonas Verwijnen, in different locations further expanding the album's duality further; Vol. 1 in Berlin and Vol. 2 in Portland. The result is a journey from darkness into light and from the shady side of the hill and back to the sunny side, reverberating with all that is eternal and infinite in the endless and mysterious architecture in which both sides harmoniously exist.
Official Website

Friday October 6 @ Terminal West | 887 W Marietta St NW, Ste C, Atlanta, Georgia 30318  
TW + Tight Bros + SpeakeasyPromo present:
8pm | $18adv | 18+
Com Truise is one of the many personas of producer and designer Seth Haley, born and raised in upstate New York and operating out of a 12'-overrun apartment in Princeton, New Jersey. An admitted synth obsessive, Com Truise is the maker of an experimental and bottom heavy style he calls "mid-fi synth-wave, slow-motion funk".

Haley's been making music on the side for roughly a decade--going through pseudonyms like toothbrushes (Sarin Sunday, SYSTM, Airliner)--first as a DJ, and currently, as an excavator of softer, window-fogging synth-wave.

While subliminally informed by both parental record collections and hints of faded electronics product design, Haley's Com Truise project isn't just nostalgia capitalization. There are fragments (read:

DNA strands) of Joy Division, New Order, and the Cocteau Twins, but it's like you're hearing them through the motherboard of a waterlogged Xbox--demented and modern. He's got a way of making familiar things sound beautifully hand-smeared.

The first Com Truise release was the Cyanide Sisters EP--distributed for free on the AMdiscs label--where mellow stone-outs like "Sundriped" and "Slow Peels" sat next to harder IDM bangers ("BASF Ace" and "IWYWAW") and bumpy alt-funk trips ("Norkuy" and "Komputer"). After that came a single "Pyragony/Trypyra," and a series of eclectic podcast mixes titled "Komputer Cast." Now comfortably situated amidst the Ghostly roster, he's prepping his next warped pillage, and hopefully not changing that name again.

Friday November 3 @ Variety Playhouse | 1099 Euclid Ave NE, Atlanta, GA 30307  
JEN KIRKMANThe "All New Material, Girl" Tour
8pm | $20 | All Ages
Jen Kirkman is a stand-up comedian and the author of the book, I Can Barely Take Care of Myself, which became an instant New York Times Bestseller in April 2013. Her debut Netflix Original Comedy Special I'm Gonna Die Alone (And I Feel Fine) is now available for streaming on Netflix worldwide.

Jen was a long time writer and round table guest on Chelsea Lately and is also well known for her roles as the narrator in many episodes of the web-turned-TV series Drunk History which is now in its third season on Comedy Central. You've also seen Jen on her regular appearances on Comedy Central's @midnight. She's done stand up on many late night shows: The Tonight Show with Jay Leno, Conan, John Oliver's New York Stand-Up Show and The Late Late Show With Craig Ferguson. She also voiced many characters on the Cartoon Network cult classic Home Movies.

Jen has released two stand-up albums Hail to the Freaks (released March 2011) which hit #13 on the Billboard Charts. Her debut album was 2006's Self Help. Jen has a weekly podcast, I Seem Fun: The Diary of Jen Kirkman, which is often in the top 100 in comedy on iTunes.

Her second book, "I Know What I'm Doing and Other Lies I Tell Myself; (Dispatches From a Life Under Construction)" will be released through Simon & Schuster in early 2016.
Jen tours the world as a stand-up and recently toured Australia to sold out crowds in both Melbourne and Sydney. She is currently based in Los Angeles.

"Jen Kirkman is a thinking person's comedian. Not by being hyper-intellectual--although she's a fiendishly smart writer and performer--but by doing comedy for people who live inside their own heads." - The Onion AV Club

"Jen Kirkman finds side-splitting laughs in lame weddings and dying alone."- Entertainment Weekly

"Ms. Kirkman knows how to deliver a one-liner, but her inclination is to linger in the telling of a story. She digs into a subject, embroidering it with jokes at various angles. A huge number of her bits culminate in vivid metaphors." -The New York Times