The performance contained within was captured on the opening night of a black metal march that lead Hellgoat up the East Coast and back, and it was a hellish scene, as all who witnessed the spectacle will attest. Give a listen to the low-fi fury of "Ordained By the Master's Hand," and let that blood-curdling scream from the audience sink in, before the hapless victims that have gathered to watch get mowed over by the song's furious wall of noise.
BONUS: As with all of Ritual Ugliness' tapes, this one is pressed in a super limited quantity (50 tapes). However, the cover art has been anointed with a demonic sigil, scrawled using a crow's feather, and inked in ash mixed with the blood of singer and guitarist Amon Demogorgon. Drummer Vaedis smeared the inside cover with his own blood as well. ... It's probably a good idea to wash your hands after checking this one out. If you're of the 50 souls who are fortunate enough to track down a copy, consider yourself warned.
Hellgoat ascends from hell once again to take the stage at 529 with Vimur on Wed., Dec. 4. $5. 9 p.m.
The album, which arrived via Bandcamp on Nov. 6, follows in the footsteps of the Driving At Midnight EP that Knap released over the summer. As the album unfolds, songs such as "Scene I: The First Kill," "Scene II: The Knife," and "Scene V: WaveForm Mutiny" channel an underlying narrative. As such, the songs don't lend themselves exclusively to soundtrack work, and a few of them are even ripe for a post-industrial dance floor stomp. Each number does, however, traverse all of the heart-pounding highs and lows of a fictitious murder-mystery set in Atlanta circa 1980.
It's been more than a year since we last heard from New Animal, but the ornate pop duo of Kris Hermstad and Derek Burdette are back with a demo that proves the band hasn't been resting on its laurels. "Good Friend" (streaming below) takes the helplessly catchy and emotive pop of the project's earlier tunes (see "Falling Up") while beefing up the scene with a waltzing pace and rustic harmonies. The fuzzy affair unfurls as Hermstad and Burdette drop in layers of instrumental bits and pieces. The overall effect feels like a blown-out take on Woods' psych-pop or a danceable lo-fi version of Fleet Foxes' orchestral folk. Although there are no details at this time, the song does serve as the first taste of New Animal's upcoming, unfinished LP. In the meantime, the group plans to play its first live show of the year on Sat., Nov. 30 at the Earl.
Hot off the well-worn, faded day-glow heels of his collaboration with Easily Suede just last month, Nomen Novum's David Norbery is back with another carefully curated bout of frantic flair. This time around though, Norbery reveals yet another card in his ample hand by calling on Atlanta stream-of-consciousness extraordinaire Zano Bathroom. Although the pair separately guested on Social Studies' At Arm's Length, this is the first time Zano and Norbery have come together for a proper recording. The fruit of that labor arrives in the form of "Wafflin,'" a gem of hypnotic production and consumptive freestyle that plays up the best of both parties' abilities.
The appropriately-named Zanomen Zanovum's debut single is just under six-minutes long but consumes everything in its path, besting blippy 8-bit vibes and upending crevices of catchy verses among absurd ramblings. Adding to the kaleidoscopic mystery box that is Zano's freestyle is the fact that his careening vocals here are the result of five takes of freestyle verse, recorded last September and synthesized by Norbery here and there over an entire year. The resulting tune takes its time to find its own path, cutting through side thoughts and following stray ideas as they reveal themselves. The fun is figuring out from whose head each idea was born. Take a listen for yourself.
Although it's only been a couple of months since dropping the unending wallow of Light Dims Eternal, Atlanta's terrible twosome Outer Gods has returned with a cassette split with Unit Charge. Appropriately released this past Halloween via bewitched audio house Persistent Midnight, the split is a fitting document of two of Atlanta's most grimly cantankerous noisemakers operating today. Outer Gods' lineup remains solely the Flail and the Wrathe, but the duo's sound is by no means stagnant. "The Great Tower of Gaul," first of OG's two tracks here, opens with a somewhat recognizable rip of a guitar chord. Almost like a gunshot in silence, the storm of sound erupts from out of nowhere, leaving a whiplash of tones in the air. The song's proceeding eight minutes are a veritable wash of all-encompassing noise.
Unit Charge, a new electronic-drone project helmed by Suffer Bomb Damage's Curtis Stephens, takes the less-direct route to mirth and mayhem, opting for white space that's pregnant with impending doom. As though channeling Outer Gods' tainted aura, Stephens' "Midst of the Garden" pushes the concrete noise to the background while keeping incidental odds and ends at the forefront. There's an unsettling rustle throughout the squall, as though the material was accidentally captured by a pocket recorder while traversing a post-apocalyptic haze. At the track's end, there's no telling whether you're at the end or beginning of a cursed journey, but you couldn't be more grateful to be here.
Stream the Outer Gods/Unit Charge split below:
Halloween was a good day for Atlanta music, as you may have noticed if you paid a visit to this blog yesterday: Vocalist Brittany Bosco used the normally spooky day as an opportunity to drop her brand new single, "Slippin." And, on top of that, another singer/songwriter on the rise who goes by the name of Marian Mareba released some new sounds as well - in the form of a remixed version of her debut EP Room For Living, appropriately titled Room For Living Remixes.
You may remember we threw the spotlight on Mereba a few months ago in CL's annual Music Issue. Well, take a minute and check out these re-imagined takes on her tunes, featuring production by NEVR, ForteBowie, and more.
A creative meeting of the ATL minds comes with a new collaboration between the budding Miloh Smith and rap duo FatKidsBrotha. As members of the local hip-hop clique Two-9, Dav.E and Light Skin Mac 11 add an interesting dynamic to the group, rattling off a sound that's less polished and more relaxed than their counterparts. The video for "Magic" premiered online today at SPIN, taking viewers on a tour through Atlanta's streets via crisp shots of downtown, 5 points, and the Braves stadium.
Well, it was only a matter of time before two of Atlanta's most versatile players teamed up. David Norbery, also known as Nomen Novem, largely curates his syrupy, wistful pop collage on his own, but is by no means a stranger to collaborations (see "Lemongrass and Countrysides" from Social Studies' fantastic At Arms Length). Easily Suede, the cut-and-paste-happy ramblings of Faun and A Pan Flute's Adam Babar, is also a solo project by design, but Babar's role in Faun relies on his ability to ping ideas off of his eight fellow band mates. It also doesn't hurt that Easily Suede, whose recent Reliefs digi-LP is a vibrant and catchy collage of half-found, quasi-accidental sounds. On "Heathered," Norbery and Babar team up, passing stray snippets of guitar, effects, and incongruous lyrical phrases that haphazardly fell perfectly into place. The melody and autumnal vibes are undeniably Norbery, diving headlong into a vibrant lattice of blippy glitch-pop and shoegaze-lite effects. There's no telling if this track is a one-off gem or a hint of more to come, but it's sounding perfect on the headphones today. Stream/download "Heathered" below.
As fall weather brings a chill to the air, and symbols of darkness emerge as Halloween draws near, Atlanta's young and ambitious rock trio, the Head, have prepared a new album to offset the doom and gloom of October. With sunny, piano-driven melodies reminiscent of the peppy hits from the 1960s golden age of pop, the Head embraces an innocence that's all wrapped up in fun, harmony-rich power-pop that insists you dance the night away.
When we last heard from Atlanta noise-psych maximalists the Electric Nature, Michael Potter & Co. were self-medicating themselves into oblivion on the fantastic Sunspot EP, a four-track dose of relatively concise riff rock. The group now returns with two longer pieces as a split cassette with Forget the Times on Already Dead Tapes and Records. Opening track "Ancient Astronauts and Medicine Men" jams along with a careening pace and delay-addled guitar grooves, a template that plenty of acts follow, but few render with perfection. Like fellow locals Maserati, the Electric Nature rides ebbs and flows of danceable rock rhythms and hypnotic color.
As Potter explains, the piece was directly inspired by the godfathers of krautrock and propulsive experimentation: "'American Astronauts' is actually a piece I've been riffing on for many years just as a solo electric guitar thing. I first heard Ash Ra Tempel's Inventions for Electric Guitar from a web radio thing called "Drug Music" in 1996 or 1997, and it's been one of my favorite pieces of music ever since. If you've heard that album you can probably hear the direct connection to 'Ancient Astronauts.'"
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