New Atlanta band Baby Baby has been generating quite a bit of buzz recently. After playing numerous local shows, they've been taking their tunes out on the road and collecting significant clumps of fans along the way. This is one of those bands you're either gonna love or hate, because while the music itself isn't the most original, their genuine performances seem to fire people up, making even the most hesitant music snob a fan. They've managed to create a live persona that's all their own while attracting bro dudes, hipsters, and blipsters with relatable stories of dates gone wrong and failed expectations — delivered with the kind of swag that thrives on giving naysayers their comeuppance. That seems to be a favored topic of frontman Fontez Brooks, whom you might liken to an American version of Eddie Argos. Their most notable song, "Fire," is a rousing anthem of a sing-along that practically makes audiences indefensible against the urge to join them in their happy, glorious, drunken party happenings.
Currently signed to new local label Gospel of Rhythm Recordings, they will release their first official album, Money, on May 21 with a show at the Drunken Unicorn. With plans to embark on a small spring tour in Arpil, they already caught the attention of Paste at SXSW, garnering the No. 98 slot in their 100 best of SXSW lineup. If you're a fan, chances are you'll want to help them out by donating a lil' somethin' somethin' to the Kickstarter campaign they've launched to purchase a tour van. (That makes the second such request from an Atlanta band in as many months, in case you're counting.) For now, I'll leave you with the video to the song responsible for their underground notoriety: "Fire"
The official release for Ethereal's upcoming album Abstratica is set for June 11 and will be released via Yelawolf's Slumerican Records imprint. Ethereal has been killing it in the underground for some time now — with solo projects known for chill soundscapes — and also as half of the lesser known 8-bit duo Optimus Pikachu. His upcoming album features appearances from Yelawolf, Rittz, Opio of SOM, Kosherbeets, and none other than Hal Williams of OFWGKTA/Jet Age of Tomorrow. Mark my words: We'll be hearing big things from Ethereal in the near future, things that could turn a page in Atlanta's hip-hop scene.
For a taste of what he has in store, check out the single "In My Honor" available for free download on bandcamp.
Ethereal opens tonight for Kendrick Lamar, Aleon Craft and Jay West. $15. 8 p.m. Thurs., March 31. Masquerade, 695 North Ave. www.masq.com.
Black Box Disco specializes in forward-thinking dance music and will be taking part in Eastside Lounge’s POST (Progression of Sound Thursdays) starting May 19. North Carolina’s 10th Letter will also be contributing to the Ghettolow collection through a side project called Golden Hour. The website it set to launch this week and will include digital releases and DJ mixes from all of the artists in the collective.
The latest release by Divine Interface is a track called “Folklore,” which expands upon the chill, intelligent lounge grooves he’s been producing lately. The track features a sample from a record called Negro FolkLore From the Texas State Prison that was recorded in 1965. Briggs reveals, “Most of the songs are about God or working in the yard. It’s very moving.” Check out the Divine Interface’s SoundCloud for more.
You know someone like Jason Quever. Not a loner, not anti-social, not a control freak — just always comfortable and most effective working on their own, thankyouverymuch. Quever, the creative nucleus of San Francisco-based indie-rockers Papercuts, had to let go a little on his upcoming Sub-Pop release, enlisting the help of an outside producer — and an outside studio, for that matter — for the first time. The chosen hand was Thom Monahan (Devendra Banhart, Vetiver, The Pernice Brothers), and the result is Fading Parade, the next logical step in his glimmering, ornate pop discography. Quever was understandably nervous, placing a process that’s been all his own in someone else’s hands (albeit, quite able hands) for the first time. But for all that could have gone wrong, nearly everything went right. Jason Quever’s figured it out: Sometimes letting go of a little can get you a lot in return.
What was it like working with a producer this time, particularly one of Thom Monohan’s stature? Was it a challenge to allow someone else to control what’s typically been just your process?
Jason Quever: It was actually really cool. I didn’t know what to expect, but I knew that I would probably benefit from not doing everything myself. As it went on, I was just really excited with what he was doing, and he still let me get the sounds I wanted and what not. The best part for me was that as soon as we started progressing in the record, I didn’t feel nearly as exhausted as usual.
So what sounds different about this one?
JQ: I’m not so great at knowing the answer to that question because usually when it’s done, I’m so exhausted of it that I don’t really know how to look at it. But someone told me it was still very “wall-of-soundy,” and in in my mind it’s a lot clearer. There’s hopefully a little more space for everything. Before, a lot of things were kind of a jumble. Hopefully it’s got a little more dynamics because we had someone sort of making sure we were playing a certain way.
Where did you make the most effort to improve for this record?
JQ: I got more into lyrical structure. [My first record’s] big weakness is that I didn’t really proofread anything (laughs). The one after that I got into lyrical structure a little bit more. But between now and the last one I felt myself getting excited more when I was recording. It just had more of a triumphant feeling to it. I felt like there was more energy and more punctuation. I think I got into a bit of a depressed and dark place on the last record that I’m not in on this one. Even the dark songs on this record have a little bit more punctuation.
Every time you write, what’s an underlying emotion you can’t shake?
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Are you tipsy? Big Heed and Alien are gonna get you that way! Recently signed to Jive imprint Battery Records, the Decatur hip-hop duo are about to embark on a national tour that includes several dates opening for Ludacris, in anticipation of their first full-length, The Big Heed and Alien Show (due out this summer).
With Alien beating a live drum set behind MC Big Heed, the duo’s first single, “Tipsy,” is nothing short of animated and unbridled party gratification. The two beat makers met in their youth at church, and when Alien was nixed from the NBA for being too short, they gave music a shot. Heed gives up their reasons for getting started in the clubs, saying, “The motivation came from us being called ugly all of our lives,” he says. “Now we have a chance to show our ugliness. It came from not having anything and making something out of nothing. It came from realizing that impossible is nothing.”
With a heavy touring schedule planned for the future, and prep work on the upcoming album coming along, you probably don’t want to miss this rare night in town with Big Heed and Alien at the Clermont. Because what’s next? “TAKING OVER THE WORLD!” Big Heed adds. “The same thing we do every day and night.”
Want a pair of tickets to tonight's show? Just tell us what famous musician made pancakes for J*Davey. First come, first served.
Blu with J*Davey, DJ Golden. $15. 8 p.m. Wed., March 30. Masquerade (Hell), 695 North Ave. 404-577-8178. www.masq.com
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triumphant exuberant metal foursome MonstrO announced today that they’ve signed a deal with Vagrant Records to release their debut album later this summer. The group, made up of bassist Kyle Sanders of Bloodsimple (and brother of Mastodon’s Troy Sanders), drummer Bevan Davies of Bloodsimple and Danzig, vocalist/guitarist Charlie Suarez and guitarist Juan Montoya of the almighty Torche, has been in the studio with Alice in Chains vocalist William DuVall who’s producing the record.
Stay tuned for more.
Hey y'all, it's Brit-Brit. Celebrating her album Femme Fatale, out yesterday, the dead-inside Spears participates in a "Jackass" stunt with Johnny Knoxville and a Port-a-Potty. How can someone almost 30 still come off so insecure in their own skin? Sorry, sorry, I'll leave Britney alone.
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