Friday April 28 @ Drunken Unicorn | 736 Ponce De Leon Ave  
To Speak Of Wolves
9pm | $20-45 | 16+
With their 2014 self-titled debut, ISSUES broke big by infusing their metal-punk hybrid with pop-perfect melodies and the heavy rhythms of hip-hop and R&B. On follow-up album Headspace, the Atlanta-based band takes that genre-bending to a bold new level, pushing further into their kaleidoscopic influences to carve out a sound that's fiercely inventive and deeply infectious.

Saturday April 29 @ Drunken Unicorn | 736 Ponce De Leon Ave, Atlanta GA 30306  
Red Death
Sadistic Ritual
Pay To Cum
9pm | $10 | 18+
Returning a few years and a few tours after their 2014-released Helsinki Savagery debut album set the world ablaze, Finland's FORESEEN is back with the topically resonant savage crossover burst, Grave Danger, their second album for 20 Buck Spin. Additionally, the band is plotting their return to the US directly in conjunction with the album's release.

Continuing the direction of its predecessor, Grave Danger delivers the punishingly relentless pace and aggression now firmly established by the iron hammer of Foreseen. Here find scraping, throat-ripping vocals over lacerating thrash dominance and possessed hardcore breakdowns that twist seamlessly with an ever-increasing '80s heavy metal tenacity, exemplified on tracks like "Fearmonger," "Bloodline," and "Chemical Heritage." FORESEEN also embraces social commentary and critique throughout as heard in the lyrics to "Government Cuts" and "Suicide Bomber," among others.

With new albums from several of the leading crossover bands of the current era releasing in early 2017, FORESEEN is set to carry the banner for the United Forces representing Finland and Europe in a genre particularly known and grown in the US. Perhaps a perfect moment in time to unleash the fury of politically-minded no-joke crossover once again, 20 Buck Spin presents this new European invasion into North America during this shockingly dark hour.

Grave Danger will see LP, CD, and digital North American release via 20 Buck Spin on April 24th, with Svart handling the release for European territories. Watch for audio samples, preorder info, and more to be issued in the days ahead.

With a prior US tour supporting Power Trip, which saw the bands invading This Is Hardcore Fest and more, FORESEEN will make their stateside return in support of Grave Danger. The band has scheduled a US run of tour dates, primarily alongside Red Death, from April 21st through May 7th, the shows concentrated in the Eastern and Southern regions of the country.

Saturday April 29 @ Aisle 5 | 1123 Euclid Ave NE, Atlanta, Georgia 30307 
OK Productions & Tight Bros Present:
Psychic Twin
9pm | $12-14 | All Ages
New Orleans natives Ted Joyner and Grant Widmer struck up a friendship as high school freshmen and formed Generationals in 2007 after graduating college.

Though their retro vibe bears the influence of Phil Spector's mid-century pop, Generationals' sound is wide-ranging and diverse, incorporating elements of britpop, dance and electronic music infused with rhythmic guitar lines, computer noises, RZA beats, and poppy vocals that sometimes sound like a Janet Jackson/Prince face-off.

Above all, with each release the band continues zeroing in on their strong suit: superior pop songwriting.

Monday May 1 @ Drunken Unicorn | 736 Ponce De Leon Ave, Atlanta GA 30306  
Full Measures
Not On My Watch
9pm | $10 | All Ages
Show Me the Body is a sludgy trio of NYC natives who, with only two EPs, have become fixtures of the city's underground scene. In 2016, they capture the increasingly alarming state of a New York that is rapidly attempting to eradicate the chaos they favor. Like their friends Ratking, who are fellow members of Letter Racer collective, SMTB's sound is as diverse as their environment, pulling from blues, hip-hop, hardcore, and post-punk. "In some ways, Show Me the Body is our way of community organizing, of getting people together," vocalist Julian Cashwan Pratt told The Guardian. "Even if there's not one message shared, there's at least a commonly felt veracity, a commonly felt aggression and feeling and spirit."

"Body War" is the band's latest homage to the city, four minutes of discordant and grating noise. Banjo-playing Pratt spews guttural verses like "I go so far, push so hard/ Just to live under this monolith" against sharp stomping by drummer Noah Cohen-Corbett and shredding from Harlan Steed, the band's wizard of a bassist. At a recent show, the first whiff of Steed's opening bass line threw the crowd into a frenzy. As audience members climbed onstage only to immediately toss themselves back into the pit (or else be pushed back by Pratt), SMTB's faces each sneered into savage expressions, seemingly unfazed by the mania.

Tuesday May 2 @ Drunken Unicorn | 736 Ponce De Leon Ave  
A. Rippin Prodictions + Tight Bros present:
The Dirty Magazines
The Stir
9pm | $10 | 21+
Supersonic intergalactic heavy rock trio Mothership based out of Dallas, Texas give a real sense of hope that all is well in the universe, and that pure honest rock and roll has once again returned to this planet on a mission to unite true believers. Consisting of brothers Kyle Juett on bass/lead vocals, Kelley Juett on guitar/vocals, and Judge Smith on drums, these guys have created a unique sound that satisfies like a steaming hot stew of UFO and Iron Maiden, blended with the southern swagger of Molly Hatchet and ZZ Top, paired with a deadly chalice of Black Sabbath. Mothership's goal from the beginning has been to carry on the tradition of the classic rock style of the '70′s, updated and amped up for the modern day. The band has been non-stop road warriors since the release of their debut album in February 2013 on Ripple Music successfully invading the United States, Canada, United Kingdom and Europe playing either on festival stages, night clubs, or outdoors under the sun at motorcycle parties. This heavy rock juggernaut has only just begun their tear across the universal cosmos and have no plans of ever slowing down. Do not miss your chance to hop on board and join Mothership.

Monday May 8 @ The EARL | 488 Flat Shoals Ave, Atlanta GA 30316  
Holy Sons
8:30pm | $15 | 21+
The Tokyo, Japan based 4 piece Instrumental Rock band MONO was originally formed in 1999. Their unique approach of blending orchestral arrangements and shoegaze guitar noise in their music has been held in extremely high regard; so much so, that the band's musicianship can no longer be sustained by Rock music alone and was praised by British Musical Magazine NME as "This is music for the Gods". One of the most monumental live memories of the band was a special set of shows with 23-piece orchestra in New York, Tokyo, London and Melbourne.

Their annual world tour consists of around 150 shows. The band has now visited over 50 countries and proudly holds the stake of being one of the most internationally successful bands in Japan. Among their fans, they are revered as one of the best live bands in Rock.

After releasing 9 successful albums including a live album with New York orchestra, the band received the highly regarded award "The Marshall Hawkins Awards: Best Musical Score - Featurette" from the Idyllwild International Festival of Cinema for their collaborative short film "Where We Begin" in 2015.

Now in 2016, the band has finished recording their 9th album with Steve Albini at Electrical Audio, Chicago. The album is set for an Autumn 2016 release.

Friday May 12 @ Drunken Unicorn | 736 Ponce De Leon Ave, Atlanta, Ga, 30306  
Tight Bros A. Rippin Production present:
9pm | $12 | 18+
Atlanta's "new kings of noise rock" Whores have hit the proverbial big time. With a two EPs that have achieved near-cult classic status in the noise rock underground and countless cross-country tours, over the past five years the band have managed to gain the kind of respect usually reserved for acts that have been pounding the pavement for decades. At the helm is veteran musician Christian Lembach, whose knack for combining sludgy, crushing riffs and immense walls of feedback is amplified further during the band's hypnotic live show. By all accounts, Lembach has never given less than his all for a crowd, and this assertion is validated by his tireless dedication to fan accessibility.
- Noisey

Friday May 19 @ The EARL | 488 Flat Shoals Ave  
A Drug Called Tradition
9pm | $8-10 | 21+
an Saint Pe spent 2004-2014 Recording and Touring the world with his band the Black Lips. After 10 years, It was time for a change.

He has a Brand New Bag, It's called, Saint Pé.

He just released his "Secular Music" EP via iTunes. His LP has also been Completed and He says of the Album "It is written and sequenced in a way to take you on a journey. From the Street Lights all the way to the Burning Bright." It's his stepping stone album. From what was, to what is about to be.

Saturday May 20 @ Terminal West | 887 W Marietta St NW, Ste C, Atlanta, Georgia 30318  
OK Productions & Tight Bros Present:
8pm | $16-18 | All Ages
Over the course of two astonishing albums, Perfume Genius, aka Seattle native Mike Hadreas, cemented his place as a singer-songwriter of rare frankness, creating songs that, while achingly emotional, offered empathy and hope, rather than any judgment or handwringing. Sparse, gorgeous and with Hadreas' quavering vocals often only accompanied by piano, they were uncommonly beautiful tales of a life lived on the dark side - scarred, brutalised, yet ultimately, slowly but surely reclaimed.

"Too Bright", however, is something else altogether. Less self-conscious, and less concerned with storytelling and easily-digested melodies, it is a brave, bold, unpredictably quixotic exploration of what Hadreas calls "an underlying rage that has slowly been growing since ten and has just begun to bubble up." This sharp U-turn came early in the writing process, when a creatively frustrated and uninspired Hadreas decided not to write what he thought people might want to hear - or as he describes it, "mid tempo Adele songs, carefully plotting each chord and lyric like math" - but focus instead on writing what came naturally, 100% visceral and unfiltered, no matter what the potential reception might be. "I looked to PJ Harvey", he recalls. "How powerful and raw she can be, and thought, "what is my version of that?"'

The resultant album, then, is a stunning about-face which brings to mind audacious career-shift albums like Kate Bush's The Dreaming or Scott Walker's Tilt, records which walk the tightrope between pure
songwriting and overt experimentation. Here, Hadreas is aided in his efforts by not one, but two unlikely conspirators - John Parish, who plays drums on several tracks, and Portishead's Adrian Utley, who, as producer, brought the physical resources to flesh out the songs in innovative ways. According to Hadreas, Utley was the key to unlocking hitherto unexplored terrain on the album, using both synths and
organic instrumentation to push the tracks to darker and more unreal heights. The album is also rounded off with key contributions from longtime touring band members Alan Wyffels and Hervé Bécart.

The fragile yet defiant "I Decline" opens the album, draped in hushed, languorous beauty, but it is an outlier. The interim between "Put Your Back N 2 It" and "Too Bright" has seen Perfume Genius grow claws and fangs, and he is unafraid to draw blood. On the following track (and first single) "Queen", the line "Don't you know your queen?" booms out over ominous guitars, not so much a genuine question as a rhetorical
one, as Hadreas proceeds to deconstruct gay panic with relish. Even with a wordless, albeit soaring and cacophonous symphony of a chorus it sounds huge, anthemic, a gleeful kiss off to what he describes as
"faces of blank fear when I walk by...if these fucking people want to give me some power - if they see me as some sea witch with penis tentacles that are always prodding and poking and seeking to convert
the muggles - well, here she comes".

That mischevious sense of defiance runs rampant through the album. A surreal threat hangs over songs like "My Body" and "Grid", with piercing screams, tribal drums and electronic stabs highlighting disturbing lyrics of self-destruction and temporary respite from the darkness. On "Fool" meanwhile, deceptively swinging doo-wop rhythms disguise a story of social mutiny, with Hadreas tearing into the stereotype of "a walking, talking candelabra", and rejecting it for something much more volatile and dangerous. "Ive met people that laugh at EVERYTHING i say", he muses. "I could be talking about OJ or Munchausens Syndrome or bloody stool - I am still just the cutest thing. Here only to enrich their lives, not have one of my own. Make their dress, tell them how great their boobs look and then peace. Isnt he the best?"

Which is not to say that Hadreas has completely abandoned the shimmering, exquisite piano ballads that he is so known for. "No Good" is a heartbreaking meditation on a difficult life lived on the outside but "spent looking in", while the somber closer "All Along" is a resigned yet firm rebuke to acceptance and reassurance from external forces, preferring instead to find refuge from within - "I have my love", Hadreas asserts, "and I apply it where I need to". This, in fact, is the overarching theme of "Too Bright"; the connective tissue loosely joining up these 11 stunning, weird and wonderful tracks - the discovery of strength and power where previously he felt he had little. As he himself puts it, during the making of the album, it felt "like i had woken some ancient beast which began to rattle and threaten to rise". With this record, consider the demon awoken. There's no turning back now.

Monday May 22 @ Drunken Unicorn | 736 Ponce de Leon Ave, Atlanta GA 30306  
Atlas Greene
Ree Dela Vega
9pm | $10-12 | All Ages
In the past few years, singer/rapper Tkay Maidza has risen out of the underground to emerge as one of Australia's most electrifying artists. With her rapid-fire flow, frenetic beats, and fiercely inventive lyrics, the Zimbabwe-born 20-year-old is now set to shake up audiences worldwide with her unstoppably magnetic debut album TKAY.

The follow-up to Switch Tape--an EP praised by Spin as a "bumper-car ride through hip-hop, pop and dance" and "one of the most freewheeling and exciting debuts of the year"--TKAY bursts with the same unbridled energy that's powered Maidza's showstopping performances at major festivals like Splendour in the Grass, Pukkelpop, and Way Out West. Thrillingly infectious, that undeniable vitality also recently prompted Killer Mike to crown her Australia's "biggest rising star" while marveling that Maidza "can dance her ass off--and she's actually saying stuff when she raps!"

Maidza brings that dance-ready yet reflective dynamic to each track on TKAY, an album that endlessly warps genres and shows her intense affinity for UK garage, grime, throwback hip-hop, and trap. Joining forces with producers like Salva (Young Thug, A$AP Ferg) and Dre Skull (Major Lazer, Snoop Dogg), Maidza continually pushes to the edge of chaos but keeps grounded in her pop-perfect melodies and masterfully heavy grooves. And in her lyrics, Maidza strikes a rare balance of boldness and vulnerability that gives TKAY a potent emotional charge.

"The idea behind the album is that it's like a soundtrack to a high school girl's life," explains Maidza, who jumped two years at school and graduated when she was only 16. "It's about feeling lost but then finding your way out. There are moments of confidence and moments of feeling lonely, but at the same time knowing that you don't need anyone or anything to be strong."

Proving her command and complexity as a vocalist and lyricist, TKAY channels a sense of defiance that transcends both age and time. On lead single "Carry On," for instance, Maidza fires off on the haters and lets loose a whiplash delivery that deftly sets the stage for a head-turning guest verse from Killer Mike. TKAY maintains that untouchable swagger for tracks like the hypnotically urgent "Tennies" and gloriously stomping "Supasonic," while songs like "Simulation" find Maidza infusing melody-driven dance-pop with a sweetly tender soulfulness. And on "Drumsticks No Guns," she lays down a straight-from-the-heart rallying cry that's equal parts playful and powerful.

Even in the sing-song melancholy of "Afterglow" and dreamy reverie of "House of Cards," Maidza shows a brashness of spirit that's got much to do with the sharpness of her songcraft. "Usually when I'm writing, it's me analyzing things like losing friends and growing up and all the bad things that can happen if you trust the wrong person," she says. "But then I translate all that in a sarcastic way, so it ends up coming off as a really happy song."

With its ever-shifting kaleidoscope of jagged beats and spacey synth, hooky melodies and furious rhythms, TKAY reveals a depth of musicality that Maidza's cultivated since she was a kid. Now based in Adelaide, Maidza was born into a family of miners and moved from Zimbabwe to Perth at the age of five. "My dad's always been in bands--mostly African folk music, or traditional Zimbabwean music--and my family would always go watch him play," says Maidza, whose early memories also include riding around with Outkast's Speakerboxxx/The Love Below on full blast in her parents' car. Though she mainly works electronically, her first experiences in music involved her dad teaching her to play guitar, in addition to some childhood training in piano.

At 15 she started experimenting with creating music on her own, with the help of her family's recording gear. "I was mostly playing around with existing songs," notes Maidza, whose first completed effort was a reworked version of Kanye West's "Power." By age 17 she'd teamed up with local producer Badcop for a pair of tracks: "Handle My Ego" and "Brontosaurus," both of which quickly made their way into rotation on national Australian radio station Triple J. Next came 2014's Switch Tape EP, which announced Maidza as an artist of dizzying originality and showcased her supreme vocal skills. In a review of featured track "Switch Lanes," Pitchfork highlighted her "slick, party-ready rapping" just before predicting that "she's got a glowing future." "That's the first song I wrote where everything was exactly what I wanted it to be," says Maidza of "Switch Lanes," whose beautifully goofy animated video has her riding a dolphin and falling through space amid dancing pizza slices. "I love how it's cute but the lyrics are kind of mean, really honest and straightforward."

Nominated for Best International Act at the 2016 BET Awards, Maidza recently lent her vocals to Martin Solveig's chart-climbing mid-2016 single "Do It Right." With her past live experience including support slots with Charli XCX, Mark Ronson, and Years & Years, she's also just torn through a string of summer dates that have brought her blissed-out live show to bigger and bigger crowds. "The whole vibe is to throw a party onstage," says Maidza of her live performance. "I always want it to feel like a bunch of friends hanging out rather than people coming to watch me. It's so cool to see people getting really involved, everyone brought together by the music."

That deep desire for unity also closely shaped the making of Tkay, according to Maidza. "I love creating something that's like a timestamp of however I was feeling at the particular moment of writing a song," she says. "And then I get to share it, and people can relate to that feeling, and it makes them feel less alone. That's my favorite thing about making music--that it's not about the artist, it's about everyone."

Tuesday May 23 @ The EARL | 488 Flat Shoals Ave, Atlanta GA 30316  
Brooklyn Vegan, Triple D's & Tight Bros present:
BASH & POP (Tommy Stinson of The Replacements)
9pm | $15-18 | 21+
When The Replacements ended their 33-show reunion tour in June 2015, founding bassist Tommy Stinson walked away with his head held high. Armed with a pocketful of new songs and a clean slate, he holed up in his home studio in Hudson, NY and played solo tour dates with a group of A+ players/friends backing him, including Luther Dickinson, Frank Ferrer, Cat Popper, Steve Selvidge, and Joe "The Kid" Sirois. They had more fun than humans should be allowed to have, and over the next year and a half they pieced together a brand new record. A BAND record.

Never one to hog the spotlight, the only logical thing to do at this point was to reanimate 'BASH & POP', the band he started immediately following The Replacements first split in 1991. Fat Possum Records quickly signed the band and will be releasing its unknowingly-long-awaited sophomore album in early 2017.

To commemorate the resurrection of Bash & Pop, Rhino is reissuing the band's 1993 seminal debut album 'Friday Night Is Killing Me' on LP for the first time in January 2017 - exact date coming soon.

Fans can now pre-order the reissue, as well as the forthcoming new album via a Pledge Music campaign. They also have the chance to procure one-of-a-kind memorabilia items (plaid suits, bass guitars, etc), as well as cool opportunities with Tommy and the band (he'll officiate your wedding, the band will come play a concert in your basement, etc) and they can even be in the audience at Bash & Pop's first show since the late 1900's at the legendary 7th St Entry in Tommy's hometown of Minneapolis.

Friday May 26 @ Drunken Unicorn | 736 Ponce de Leon Ave  
The Orbiting Human Circus feat. THE MUSIC TAPES
9pm | $15 | All Ages
The Orbiting Human Circus & The Music Tapes
Julian Koster (Neutral Milk Hotel) and Night Vale Presents invite you into the world of popular new podcast The Orbiting Human Circus (of the Air) with this enchanting live immersive evening of songs, stories, games, magic, and more by the Music Tapes (Elephant 6 Collective/Merge Records).

About The Orbiting Human Circus (of the Air) Podcast:
Both an immersive theatrical experience and a musical show, this evening commemorates the release of The Orbiting Human Circus (of the Air), a fictional narrative podcast created by Julian Koster (Neutral Milk Hotel) and presented by the creators of Welcome to Night Vale (one of the most downloaded podcasts of all time). Spend an evening with the show's lead character, the hapless Janitor of the Eiffel Tower--played by Koster--who will attempt, and fail, to clean this very venue, as surreal events, songs (by the Music Tapes), and magic simply happen all around him (and you). Debuting in the top ten on iTunes' podcast charts, the podcast--a combination of cinematic audio narrative, song, and sound collage--has reached a loving cult fandom all over the world, has been featured in The New York Times, Pitchfork, and Spin, and was named one of The Guardian's top podcasts of 2016.

About the Music Tapes:
Founded by Koster and Robbie Cucchiaro, the Music Tapes, seminal members of the beloved Elephant 6 Collective, are known for creating unique and extraordinary live events. Their most recent show, 2012's The Traveling Imaginary, toured in a circus tent with its own carnival of surreal games. This tour, in support of Merge Records' release of the new Orbiting Human Circus EP--a collection of songs from the podcast and the Music Tapes' sixth release on the revered indie label--might be the Music Tapes' most ambitious offering to date.

Wednesday May 31 @ The EARL | 488 Flat Shoals Ave, Atlanta GA 30316  
Bowery, Tight Bros & Speakeasy Present:
8:30 | $10-12 | 21+
Kikagaku Moyo (Japanese for Geometric Patterns) is the musical union between five free spirits. Go Kurosawa (drums, Vocals) and Tomo Katsurada (Guitar, Vocals) formed the band in 2012 as a free artist's collective. They met Kotsuguy (Bass) while he was recording noise from vending machines and Akira (Guitar) through their university. Ryu Kurosawa had been studying Sitar in India, upon returning home he found the perfect outlet for his practice.

They recorded their first EP in a day and posted it to Bandcamp. On the other side of the world, a small label from Greece was listening and offered to press a limited run of LPs. Interest picked up through the blogging community and the band found tight group of dedicated fans around the globe. Since 2013 the band has released two full lengths, an EP, and several singles. They have toured Australia, the United States, Europe and Japan extensively. Kikagaku Moyo love to connect with people through performing, whether they are playing in a barn deep in a Swedish forest, on a desolate Mediterranean beach, or beside a sleepy river at 2014's Levitation Fest they bring out the magic in everyone present.

Their latest release "House in the Tall Grass" (Guruguru Brain) was recorded in the winter of 2015/16 in Tokyo. Their delicate use of melody and soft vocal harmonies contrast seamlessly with fuzzed out sitar riffs and feedback. To Kikagaku Moyo a song is like a breath of wind through the leaves or a fish jumping from the water. Their music is a conversation--sometimes delicate and tender other times explosive, but always human and always changing.

Saturday June 10 @ Drunken Unicorn | 736 Ponce De Leon Ave  
9pm | $15 | All Ages
Elizabeth Eden Harris (born May 31, 1997), known as "CupcakKe", is a rapper and songwriter born and raised in Chicago. Elizabeth began rapping at the age of 14, starting off doing church poetry, she received the nickname "CupcakKe'' and she later began to rap. First song "Gold Digger'' went viral on internet in 2012. Songs as ''Money'' (2012) ,''Figgas Over Niggas'' (2013) and ''Yo Lost'' (2014) gained attention. In 2015 she broke the internet with her sexually charged anthems "Vagina" and "Deepthroat'' and in February 2016 she released her first album entitled "Cum Cake".

"People were thinking, 'She's so vulgar. She's bold. We're going to get a mixtape that's nasty.' And then they come to find out there are only three songs on the mixtape that are [explicit]," said CupcakKe for Columbus Alive about the album. "Cum Cake" gained attention of music publications such as Complex and Paper Magazine, which premiered the single "Pedophile", where she details the story of being a minor who was involved in a relationship with an older man.

In June 2016, CupcakKe announced her second album entitled "S.T.D" which was considered one of the Best Rap Album of 2016 by Rolling Stone Magazine. The same month, The Fader Magazine commented about CupcakKe being one of the 21 rappers to feel excited about. Pitchfork commented CupcakKe's career thus far may be defined by her ability to turn out great raunchy anthems, but she is capable of so much more.


In a Canadian suburb, at a convenience store that smells subtly of urine, two teenagers wait to buy cigarettes from the only clerk in the neighborhood who never asks for proof of age.

Sarcastic and groggy, the kids get to talking about their mutual affinities for Zelda and songwriter Lily Allen, who has recently come to prominence via MySpace. They introduce themselves to each other as Kara and Bobby, and barely a week goes by until the pair are congregating regularly at Kara's house on Raintree Lane, where they help themselves to anything they can find in her mom's medicine cabinet, and begin to throw together their first original songs.

Soon enough, the duo realize that their town's music scene doesn't extend far past bands covering Sublime songs at sports bars. Kara's neighbor suggests that they take the train into the city to perform at "Elvis Mondays," an open mic night of repute for Toronto bands.

Embracing the suggestion, Kara and Bobby find a sort of musical home at "Elvis Mondays," and begin to craft their sound. They start to accept other gigs opening for drag queens, and performing at Mediterranean restaurants that would later get shut down for violating government health regulations.

Kara begins to come into her own as a front woman, eliciting praise around the city for her range and stage presence. Bobby, extremely focused on songwriting, finds his voice as a lyricist, drafting candid songs about sexual frustration, bacne, nihilism and his struggle with clinical depression.

Finally formulating a sound that felt distinctive (Gorillaz meets early Madonna), the two are convinced of their readiness and seek out a producer who can help them craft a garage-inspired album that they know needs to resonate with a generation that has shifted its attention away from bands and over to DJ's and hip hop.

Soon, K.I.D connects with producer Mike Crossey, of The 1975, Wolf Alice, Arctic Monkeys and Foals infamy. Tweeting their song 'I Wish I Was Your Cigarette' at him piques his interest, and a meeting at a K.I.D show in London seals the deal. "We didn't have sex!" they squeal, but they sure make beautiful music. By February 2016 they're holed up for three months in an LA studio making a dazzling accidental concept album.

Tuesday June 13 @ The EARL | 488 Flat Shoals Ave 
8:00pm | $15 | 21+
Little Hurricane will be releasing their new album in early 2017. The new bio and press assets are currently being developed.** Here is the the bio from their last release:

For the recording of their sophomore album Gold Fever, San Diego-based dirty-blues twosome Little Hurricane skipped the studio and rented out a 19th-century apple-packing house in an old gold mining town. For two weeks, singer/guitarist Tone Catalano and drummer/vocalist C.C. Spina hunkered down with vintage equipment borrowed from a friend who once recorded with legendary bands like the Grateful Dead and Deep Purple. Sweating through a mid-summer heat wave in their air-conditioner-free surroundings--and often visited by tarantulas, turkeys, deer, and other local creatures--Little Hurricane quickly found their new album taking on a swampy yet ethereal vibe that slyly captures the spirit of the weirder, wilder corners of Southern California.

The follow-up to Homewrecker (the debut album Little Hurricane self-released in 2011), Gold Fever busts open its predecessor's rootsy blues-rock with an Americana-influenced sense of storytelling, a disarming ease with breezy melody, and a broader sonic palette. At turns stark and lushly textured, the album draws much inspiration from Tone and C.C.'s frequent getaways to the desert and their shared love of Salvation Mountain, the Salton Sea, and "all those places where kooky people go to escape the rest of the world," according to C.C. Also essential to Gold Fever's sonics were the acoustics of the recording space itself--located in Julian, California, the house was built from foot-and-a-half-thick stone and crammed with thousands of books left behind by its author-owners--as well as Little Hurricane's use of analog equipment. "It's the same equipment that made those bands sound so good back in the '60s and '70s, and it really helps to balance out the digital edge from the more modern technology we're sometimes using," notes Tone, a longtime audiophile who served as producer on Gold Fever.

Formed in 2010 and fast recognized as a killer live act, Little Hurricane devoted two years to the creation of Gold Fever. "Homewrecker was recorded literally while touring, in kitchens and living rooms all over the place, so for this one we wanted to take more time and see what happened," says C.C. While the album has a heart-on-sleeve honesty that's deeply intimate, Gold Fever also delivers a slew of songs huge in sound and scope. "Playing big festivals over the past couple years and getting on those bigger stages motivated us to write bigger songs," she points out.

Little Hurricane builds off their dirty-blues dynamic for nearly every track on Gold Fever, but infuses each song with such unexpected and inspired touches as the ghosty effects and one-drop rhythm of "Summer Air," the swell of strings on the otherwise frenetic "Sorry Son" (a gut-punching number about C.C.'s brother and his struggle with addiction, written from her parents' perspective), the horn-soaked soul of "Boiling Water," the snakey groove of "No Man's Land" (whose opening lyrics put a playful twist on the Eric Carmen power ballad "All By Myself"), and the handclap-backed strut and growl of "Grand Canyon." Throughout Gold Fever, C.C.'s drumming shifts from thundering and frantic to crisp and razor-sharp, while Tone's guitar work encompasses lead-heavy riffs, bluegrass-style twang, and gorgeously understated soloing. And although Tone serves as Little Hurricane's main vocalist, C.C. lends her honeyed yet earthy vocals to songs like the spooky, swaying "Breathe," the sultry stomper of a title track, and the slow-burning but anthemic lead single "Sheep In Wolves Clothes."

Each of the songs on Gold Fever was sparked from close collaboration between Tone and C.C., who first found each other through a Craigslist ad. Originally from Chicago, C.C. started playing drums when she was just ten-years-old ("My dad brought me home the Iron Butterfly album with 'In-A-Gadda-Da-Vida,' and that had a big impact on me wanting to be a drummer," she says). Attending culinary school after high school (and interning at the House of Blues Chicago's Foundation Room, where her love of blues was born), she moved to San Diego and bought herself a drum kit to get back to playing music.

Born in Santa Cruz and raised on Van Morrison by his "East Coast hippie" parents, Tone picked up guitar in seventh grade and played in a post-punk band in high school and college. Though he'd kept up with guitar over the years, Tone's career was focused on his work in audio engineering, with an expertise in live recordings that led him to work with artists from Gwen Stefani to Led Zeppelin's John Paul Jones. "Working as an engineer, I started to see that a lot of bands were using playback tracks in their live performance," he says. "It bothered me that so few people were just playing music, so I started to look for a drummer to make music of our own."

That commitment to organic, unadorned sound is evident in the Little Hurricane's live experience, which has graced major festivals like Lollapalooza and Austin City Limits in recent years. "Live is what we're really all about, and we try to put on as big a show we can for everyone," says C.C. The stripped-down but amped-up two-piece dynamic also goes a long way in maintaining Little Hurricane's beautifully brutal energy, even on the more intricate and melody-soaked arrangements heard throughout Gold Fever. "One of the most important things for us on this album was making sure we never strayed too far from just good, straight-up rock-and-roll recording," Tone says. "We try to keep it raw and honest, and with the two of us that's not so hard."

Friday June 23 @ Aisle 5 | 1123 Euclid Ave NE  
Chelsea Shag
9pm | $15-18 | All Ages
"I had a bit of a cry after I heard the mastered album," says Rod
Thomas, Bright Light Bright Light, of his third long-player Choreography. Rod is not usually the sentimental sort. But he is a man born of the Welsh Valleys. It comes out. Why so emotional this time, Rod? "Because I can't believe I managed to do something I feel so proud of." In the course of its production, Choreography answered a personal and artistic conundrum for Rod. "I've been in a weird position of being too indie to be pop and too pop to be indie. This time I wanted to make a bold, colourful record that celebrates its pop self." This time, he did it.

Rod Thomas is possibly the most independent pop star in the world. He is his own label boss, A&R, manager, tour manager and one time booking agent. He publishes himself and organises all his own artwork. The occasional club he runs, Romy and Michelle's Saturday Afternoon Tea Dance, at the brilliantly named C'mon Everybody bar in Brooklyn, is his concept, execution, playlist and NYC pals. His musical collaborators - Elton John, each individual Scissor Sister, Alan Cumming - are drawn from his own rolodex, free from label interference of what might make bank, invited along to suit his specific tastes. However indebted to classic pop methodology and dotted with indisputably ace pop people they become, his records are every note and beat his own.

After moving from London to New York three years since, multi instrumentalist, singer and for one night only - ta-dah! -dancer Rod Thomas has gone and done it his way. "This one is so close to what it was supposed to be," he says of the record, still looking a little startled at what pop fairydust he managed to sprinkle over the project. "It's a really special thing. The whole thing was about making a record that I give a fuck about with people that give a fuck. That is a joy."

Work began in earnest on Choreography in January 2015. The story of
its' unfolding reads like the script for an unmade Richard Curtis film. At the close of his massive world tour supporting his great friend, mentor and chief Choreography collaborator, Elton John, the maestro took Rod aside invited him to open for him on New Year's Eve at The Barclay Centre, a stone's throw from Rod's new home in Crown Heights. "The whole room went crazy. Just down the road from my flat. It was, no word of a lie, the happiest night of my life."

It was snowing in Brooklyn last January, a neat analogy for the blizzard of emotions the genial popsessive was filled with after completing his live duties. Housebound, satiated and raring to write again, he settled down with his favourite films and vowed to write a song a day for his forthcoming third album. "I knew I wanted to call it Choreography and thought about what it was that interested me about it; the unison, how dance makes you feel." He watched Flashdance, Footloose, easy starting points. "I thought about dancing being banned in New York and about how good it makes you feel. I thought about choreographing my life in London and New York. I DJ a lot, my job is to make people dance and I love watching people dance. That was important for me for the record."

He engulfed himself in visual imagery. "I watched Big Trouble in Little China, Romy and Michele, obviously, Amelie, A Bout de Soufflé. Loads of films from French New Wave to 80s cheese, independent shorts to blockbusters and picked out moments that made me happy and made me think."

The unusual starting point for all this inspiration was Kim Cattrall's dance sequence in Mannequin, the jump-off point for album highpoint, Symmetry Two Hearts. "I wanted to feel as cool as her." This is game talk from a proper 21st century pop idol. His Jake Shears duet, the scorchingly sensual Kiss For Kiss was inspired by another unlikely filmic reference. "You know the bit in Alien: Resurrection where Sigourney Weaver is writhing in that pit of aliens? That's what I wanted it to feel like." It's an unsurprisingly physical song. If you are spotting an ongoing thread to the references here, you might like to bracket them under the umbrella 'intelligent camp.' Rod wouldn't argue with you. "There's much more humour and honesty and my own personal energy to this record. There are camp touches to backing vocals, references to Little Shop of Horrors."

There is a serious point beneath all this showmanship and Hollywood glitz. Rod Thomas opened his pop hand almost a decade ago, when as a London subway busker he was signed temporarily to Elton's management
company. At the time, due mostly to circumstance ("I couldn't afford
to buy the equipment I needed to make electronic music") and something
voguish in the air, he fell uncomfortably into the lineage of the new
folk denizens, the Lauras, Noahs and even the nascent (gulp) Mumfords.
"I even recorded a song on a Ukelele," he notes. This was categorically not a place Rod wanted to be. "It was very of a time. I do remember feeling that I didn't want to be vocal about being gay in that world, partly because it didn't really seem to be present, at all, in it. There's a gorgeous freedom to pop music. I wanted to feel that."

Rod underwent a seismic career change, lifting his new name Bright Light Bright Light from another childhood film reference, Gremlins. "I got really fucking bored of being this sad guy who plays a guitar singing about broken hearts. I'm not that person. I can be ridiculous. I do want to make pop music. I couldn't work out how to translate the absurd side of my personality in folk." On Choreography, he makes peace with his great personal and musical shift. The opening single is All In The Name, his most balls-out 3.30minute pop moment yet. The lyric centres around the constant need for approval on social media, something the feels familiar to Rod having tried to fit in musically. "It's a take on how people go absolutely out of their way to be absolutely adored by everyone," he says, "The lyrics are piqued, delivered from somebody who is desperate to do that." The one strike stick of the chorus is emboldened by all the album's collaborators joining in for the ride. He may be a singular man, but Rod is fond of a bit of group therapy. This kaleidoscopic DIY approach feels fresh
and unforced, a proper free-for-all under his unique and pleasing

Which brings us circuitously to the final cog in Choreography's wheel.
The actual choreographer. Rod was on a visit back to Britain when he
spotted his old touring buddy John Grant sitting in the corner of the
East London restaurant, Hoi Polloi, sitting with a friend. "This guy
said 'are you Bright Light Bright Light?'" he recalls. With a serendipity you couldn't invent, the fan in question was multi TONY, Laurence Olivier and Drama Desk award-winner Steven Hoggett, possibly the most in-demand theatrical choreographer and movement expert working on stage today. Steven was happy to take a tiny break from his schedule working on the forthcoming Harry Potter play to take up the role of the Bob Fosse to Rod's Liza Minelli, to turn Choreography into a full dance escapade.

"He's a smart guy, with killer tunes," says Steven of Rod. "He mentioned he wanted to call the album Choreography and to have a video concept across all the single releases. We met in New York a couple of times and decided to go guerrilla and shoot three videos in four days. He had a tonne of ideas and had a great time referencing a load of shapes from 80s and 90s videos. There are a lot to spot if you're into that kind of thing." Rod finally got to unleash his inner Jane Jackson. "He inspired me no end. I love the guy and he worked his ass off in an environment he had no previous in. I could bang on about him forever."

This was about more than just creating arresting imagery and a dynamic backdrop to Bright Light Bright Light's best record yet. It was about
Rod Thomas allowing himself to be just that, in all his glorious extremes. It was about fulfilling his proper potential, entirely on his own terms. "Carrying on with how amazing this whole process has been of making the record," he says, "Steven was the icing on the cake. I was kind of terrified that I'd be really shit at dancing. I had to up my game and use my brain in a very different way. This is exactly what the whole album has been about. Each new album should be a new challenge. With this one, for the first time I got to make the album exactly as I wanted to, shoot the videos exactly as I wanted them, with exactly the people I wanted to work with. How brilliant is that?"


Born and raised in Nova Scotia, Canada, Chelsea moved to Atlanta in 1996 where she developed the soul of the Southeast that can be heard in her music. After studying jazz guitar at the Atlanta Institute of Music, Chelsea began winning hearts performing throughout Atlanta and breaking through the feminine clichés. At only 24 years old, Chelsea is reinventing the image of females in music through her display of strong and unique songwriting and a complex but catchy guitar style that she has been developing since the age of 11. With her unique style and intricate look, she creates her music to inspire and build a world where all people can feel safe to create and love just as she does so fiercely.

Saturday July 8 @ Drunken Unicorn | 736 Ponce De Leon Ave  
A. Rippin Prodictions + Tight Bros present:
Old Thrones
9pm | $10-12 | 18+
Colorado's COBALT, over the years and since they began working with Profound Lore Records with 2007's landmark "Eater Of Birds" album, have become recognized as one of the most singular and defining extreme American metal bands today. Their 2009 album "Gin" is recognized as a pillar in American extreme metal, a milestone album of literature-influenced progressive apocalyptic wasteland metal that took the American metal scene by storm and landed on pretty much all best-of year end lists the year it came out.

Now almost exactly seven years since the release of "Gin", COBALT (now defined as the duo of multi-instrumentalist/mastermind Erik Wunder and new vocalist Charlie Fell, ex-LORD MANTIS) are poised to releases one of the most anticipated metal releases of 2016, their long-awaited new double album "Slow Forever"

"Slow Forever" sees COBALT, after years dealing with personal turbulence, tragedy, contemplation, and even confusion, return triumphant and focused as ever. With Wunder formulating their sound that naturally takes off where "Gin" left off and new vocalist Fell bringing a new character and sense of savagery and violence that's synonymous with the COBALT sound, "Slow Forever" is another epic offering from the COBALT cannon destined to hammer down and make its notable impact as one of the most defining metal albums to be released in 2016.
Old Thrones
Blackened metal from Atlanta, Georgia.
Earthling began in the early 2009 as a project between Harrisonburg VA natives Alan Fary (Guitar/Vox) & Brently Hilliard (Drums). After several short lived line-ups the band solidified with Praveen Chhetri (guitar) & Jordan Brunk (bass). Having released two three song demos, a 7″ split and Extensive touring of the DIY circuit of the area, the band has crafted a crusty black thrashing heavy metal sound drawing influence from across the spectrum of heavy music.
Aseethe, the doom trio of Brian Barr (guitar, vocals, synth), Eric Diercks (drums, samples), and Danny Barr (bass, vocals), has a singular emphasis on crushing doom that utilizes space and repetition, taking a tip from drone music. The band is working on a new album for release in 2017.

Since Aseethe's inception, the band has been a favorite of other musicians and toured/shared bills with the likes of The Body, Northless, Inter Arma, Thou, and Bell Witch, and they'll be playing Midnite Communion IV in November with Cough, Hell, Destroy Judas, and Funerary, to name a few. Aseethe was recently picked up by Hexagram Booking and is working on a fall tour around Midnite Communion IV. Aseethe has released splits with Ghaust, Shores of the Tundra, and Mauul; Reverent Burden, a 12-inch; Red Horizon, a 12-inch that was a reworking of a Barn Owl track; the improvisational album Burdens II, and the EP Nothing Left, Nothing Gained.

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.

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