Rather, Beatles vs. Stones takes on a wholly different angle on how the greatest rock 'n' roll rivalry of all time was fostered by the fans, the music industry, the media, and by the bands themselves. By bringing to light mounds of source materials that most scholars and critics have never mined, namely the alternative newspapers and fan magazines of the late '60s and early '70s, McMillian taps into the stories of both bands as they unfold. By tracing their evolutions, side-by-side, as they appeared in the underground publications of the times, McMillian offers fresh insight into the dynamics of both groups as they grew and changed, with a real-time and palpable sense of excitement.
Places to Hide is a '90s Chapel Hill indie rock band that formed in 2013 ... in Atlanta. Sprouting from the local DIY scene, the group has formed less than a year ago, and has recently released its debut full-length, Almost Nothing, via Irrelevant Recordings and Out Of This Records on LP and CD respectively.
Although Places to Hide's roots are planted deeply in the '90s, the group is no nostalgia act. Lead by primary songwriters Kyle Swick and Deborah Hudson, the group's approach to overdriven guitars, spastic drumming, and boy/girl yelling/singing is steeped in honesty and packed with hooks - a refreshing take on an old genre that's been beaten to death by the Brooklyn contingency as of late. Taking queues from old school indie rock stalwarts such as Superchunk, Sebadoh, and even hyped up newbies like Yuck, the Hiders play catchy indie-punk anthems that leave just enough vulnerability and naiveté to make them irresistible.
Almost Nothing takes shape as a trip through your twenties: Love, lust, drugs, and student loans. The guitars hit you hard to knock you off balance so you falter just enough to lean on a friend for stability. With lyrics like "You asked me if I was lonely/ Well, I don't think I'm anything/ so when I say it's all OK I hope you don't believe me," in "Drugs Pt. 2" how can you not be taken back to the worst/best years of your life?
Stay tuned, as we'll have a proper gallery of images from Goblin's show posted soon.
The occasion is Big Sandy's (born Robert Williams) 25th year reveling in retro Americana. He started in 1988 working in a trio format, but quickly added instruments to make his revitalized Western swing even more authentic. Over the decades, his vision has expanded considerably to encompass everything from rockabilly to honky-tonk and '60s doowop. Initial discs on tiny West Coast indie imprints such as Jeems and Dionysus led to a productive relationship with the Hightone label where he and his Fly-Rite Boys released six albums from 1994 to 2000. A shift to Yep Roc in 2003 yielded two more, but the appropriately named What a Dream It's Been is his first since 2006.
The debut album's 10 tracks offer a rocking and distorted take on the infectious pop anthems of the Gordon-fronted Young Orchids. Like his other band, MammaBear changes tempo and mixes in a myriad of influences, ranging from classic glam rock to more contemporary indie and Britpop. "Red's Dead," out since May as a digital single and video, is the stand-out number here, driven by hard-hitting '70s glam drumming and a wall of wailing guitars. Gordon stuck with this in-your-face sound on equally exciting album cuts "Rodents" and "Something to Say to You."
The rest of the album is a nice variety platter: "Greenlight" is a beautiful, mellow number that builds on a slow acoustic start. Like "Birds of Paradise," the song comes across as somewhat subdued when compared to "Red's Dead," but it still fits the flow of the album. Other tweaks on the MammaBear sound resulted in the modern shoegaze feel of "Raven Falls" and the washed-out psych-pop of "She Will Fuck Your Mind." The latter would fit nicely on a mixtape with some of Burger Records' younger acts.
MammaBear and Fox Grin play the Star Bar on Thurs., Aug. 15. Free. 9 p.m.
That first album introduced us to a musician with far more creativity than most supporting bassists exhibit, even securing him an interview with a major label for the follow-up. Thankfully Cronin knew his peppy yet introspective indie pop was not created to be molded into hit single material. Instead he signed with veteran indie Merge for his sophomore release, inauspiciously titled MCII. Where the previous set showed a penchant for Beach Boys harmonies and taut Who-styled song structures, the new one submerges those basic concepts under snappy, even toe tapping tunes. The production, mixing and general sound is substantially improved - the album was mixed and mastered at the high profile Fantasy Studios in Berkeley, CA, an idea he borrowed from Segall - and Cronin, working nearly as a one-man band, flaunts his sax, piano, and string chart writing chops.
As an extension of DKA, Atlanta's sole proprietors of cold wave, goth, and left-field dance music, DKA Records has established a firm foothold in the ranks of DIY labels both within the city and beyond with DKA001. This 7-inch bears heavy aesthetic resemblance to classic goth and post punk singles and tapes, with stark black-and-white imagery and xeroxed inserts creating a minimalist vibe with an utilitarian approach. The single pits two breakouts of the underground synth scene together for a split of forward-thinking, avant-garde pop, with Bloomington, IN's Dylan Ettinger and Iowa City, IA's Goldendust.
Ettinger's offering, "the Pale Mare," is a tune that continues his recent retreat into shadowed, back-lit pop, following the starkly beautiful Lifetime of Romance LP and the gritty, haunted auras of the Crucify Your Love EP. The slow and heavy rhythm is hypnotically foreboding, pounding out its pace with a towering posture. The synth chords reign in like a torrent of static, bearing as much weight on the scene as the deranged and unassuming melody. Ettinger's vocals resemble a deepened, delayed, and distorted version of Robert Smith's proto-goth howls, suggesting Pornography's most alienated moments.
3 out of 4 stars
The Black Lips cover "Mammas, Don't Let Your Babies Grow Up to Be Cowboys," a song penned by Ed Bruce and made famous in 1978 when Waylon Jennings and Willie Nelson turned it into a No. 1 hit. When blended with the Black Lips' usual influences, the song sounds like a front-porch guitar jam and singalong, as did their cover of "What to Do" by the Rolling Stones, which is included on a 2007 Norton Records split with Demon's Claws. This is the band's first nod to outlaw country, though guitarist Cole Alexander's wardrobe sometimes includes hats and bolo ties that reflect his inner cowboy.
On the flip side, Icky Blossoms' entrancing, slightly sensual take on the Siouxsie and the Banshees classic "Arabian Knights" is true to both the original and the band's own electronic grooves.
Though this is an odd pairing, both songs are worth a listen and make this an RSD exclusive worth owning.
Album opener "Born Dead Generation" by Bukkake Boys captures the now-defunct hardcore band in all its brutal glory and sets the tone for the rest of the album. Punk compilations often contain both bands that have called it quits and the first officially released track by newer acts. Land of Nod is no exception, as it includes what are likely the last two officially released Bukkake Boys songs and the vinyl debuts of Athens-based American Cheeseburger offshoot Shaved Christ, local grind standard-bearers God's Balls and Predator spin-offs Acid Freaks and G.H.B.
ooooohhhh, I'm so excited!! I can't wait to see them together!
come on man you know you got a bromance. you probably still rock that OutKast…
Yes, 14 is the correct answer. I'll pass your info along to the group's manager,…
That was January of 2007, and they are 21 now, so I'm guessing 14?