Posts Tagged ‘Atlanta’

Rose Hotel is not a hotel at all. It’s a band. But that doesn’t mean that their tunes won’t make you dream, with their lo-fi, bedroom indie-pop sound.

Rose Hotel, aka Atlanta-based musician Jordan Reynolds, specializes in dream pop that won’t put you to sleep. “Write Home,” an enchanting bedroom piece that quickly evolves into a spacey, twang-tinged jam, was the third and final tune to arrive before the record, and it’s perhaps the most arresting. It’s a miraculous mix of psych-rock, pop and jazz that shouldn’t work, but Reynolds and her band (made up of other ATL aces from groups like Material Girls, Neighbor Lady, Karaoke and Palm Sunday) knit them all tightly together for a full, bold sound. The warped guitars and hurried drums sound like Aussie psych; the relaxed trumpet and pedal steel like a fusion of early blues and jazz.

Rose Hotel’s debut full-length record “I Will Only Come When It’s A Yes” is out May 31st, 2019

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Tyler Lyle’s new record. The Native Genius of Desert Plants is a three-and-a-half year introspection that triumphantly sought out a level of understanding in the face of adversity. The album reflects not just on how to make sense of the trials and tribulations we face in life, but on those magic moments that manage to persevere suffering to make life not just livable but an enviable state of being.

In 2011 Tyler Lyle self released his indie-folk debut The Golden Age & The Silver Girl, which NPR’s World Café named one of the top 10 albums of 2011. ‘The Golden Age & The Silver Girl’ was a singular statement written as an effort at catharsis for Tyler over a break up that conjured up a lot of questions that he had not previously been forced to deal with. Fittingly, as Tyler cTyler’sompleted this effort at coming to terms with an event that had fundamentally changed him, he boarded a plane for Los Angeles the next day to start a new phase of his life.

If The Golden Age & The Silver Girl was about reckoning with one’s sadness, Tyler’s follow up, The Native Genius of Desert Plants, is about finally transitioning from dark to light. In contrast to the whirlwind period writing and recording his debut, Tyler was able to take his time to really find his voice on the new album, for which he wrote over 90 songs over four years. Now whittled down to 12 songs, the album maintains an element of eclecticism while speaking from a universal voice of hope and self-discovery.

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Ingrained in this record is the change in perspective that Tyler has developed during his time in Los Angeles. The darkness and cynicism that were largely present in the 25-year-old that moved out west in 2011 has largely dissipated in the 29-year-old man that will be releasing The Native Genius of Desert Plants. In  words “I found a story to tell. It can be read as dialectic, told from three different lenses, or as a narrative from darkness to light. It can also be read as one single question – one that I ask in earnest and I ask expecting an answer:

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For a few years now, we’ve been fond of the Atlanta trio Omni since they played a wonderful set of songs at the End of the Road Festival. The former Deerhunter guitarist Frankie Broyles plays in the band, and they make sharp and catchy post-punk. These Atlanta post-punks Omni signed to Seattle institution Sub Pop Records and marked the occasion with two new songs as part of the storied Sub Pop Singles Club series (recently revived after a 10-year absence), “Delicacy” and “I Don’t Dance,” and they are currently at work on their third album—Sub Pop’s presser promises more new music “in the near future.” Omni frontman Philip Frobos explains in a statement that a-side “Delicacy” was “one of the first songs we wrote after a couple of years of non-stop touring behind Deluxe and Multi-task. It came naturally to [guitarist Frankie Broyles] and I felt like we were headed someplace new. It’s written about falling in love, with who would become my wife, on a 23-hour layover in Casablanca, exploring a new continent, feeling intrigued and truly alive.

Omni’s new single “Delicacy” b/w “I Don’t Dance” (Release Date: April 12th, 2019) is available now on all streaming services and is a part of the latest edition of the iconic Sub Pop Singles Club series.

In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album ​The Devil You Know​. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. “The writing process was done with an open heart,” says guitarist/vocalist Julia Kugel. “Everything that came before had to go away. And we started there, at ground zero.” With each album, you could hear the individual songwriters honing their style. But with ​The Devil You Know​, it feels like we’re hearing the first Coathangers record written as a true unit.

“The Devil You Know is a collection of glorious cassette-tape jams with unfussy production, tight melodies, and precise vocal harmonies.” – Pitchfork

“The Devil You Know is a vital and exciting record – one which gathers up the past and pointedly thrusts it into the present. Topics like institutionalised evil, war and greed are always valid targets and The Coathangers go for the throat – and draw blood – pleasingly and memorably at every opportunity. This should be their moment of glory.” – Drowned in Sound

“The Coathangers infuse every note they play with an intense energy that bristles with anger, attitude, and snarky humor.” – New Noise

The Coathangers new studio album, The Devil You Know, out now on Suicide Squeeze Records.

The Coathangers’ repress of The Devil You Know is out now on limited-edition color-in-color-out variant of coke bottle green (out) and magenta (in) vinyl. Limited edition of 500 copies.

Larkin Poe

Venom & Faith is the album from Nashville based sister duo Larkin Poe, released last November. Without basking in nostalgia factor, the band harken back to the hey-day of all guts-and-glory blues-infused rock, melded with the raw-power of modern alt-folk stylings.

With four full-length albums under their belt, the band have cemented their status not only an essential listen for rock fans, but a must-see live act. Larkin Poe have shared the stage with legends like Elvis Costello and Conor Oberst, with Steven Tyler even tapping their talents for a guest spot his debut solo album 2016.

The Atlanta-born sisters Rebecca and Megan Lovell are descendants of celebrated US writer Edgar Allen Poe and have an appropriately gothic feel to their country blues churn and holler. Even the record’s title, taken from a lyric from album track Honey Honey, is intended to conjure a southern gothic image.

The excellently titled Bleach Bottle Blonde Blues is the latest track to be shared from the album – it rattles, stomps and slides into a modern-day depiction of what roots rock should sound like.

Bleach Blonde Bottle Blues is from Larkin Poe’s album “Venom & Faith”, out November 9

I’ve loved this song since it was introduced to me way when I first heard it back in 2017 as part of the first installment of his monthly Secret Lair project (it was then called “Floating Empire”, and it was good, . It was just Tyler and his acoustic guitar on that version, and this version adds only a few small, delicate, perfect touches and flourishes to what was already one of my favorite songs of his. We don’t know when his next full-length is coming, but it’s on the horizon and I, for one, can’t wait to hear it. This is a truly beautiful song and I wish I had something more poetic or profound to say about it. Fortunately, I don’t have to. Tyler’s carefully crafted lyrics speak for themselves.

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“When you find that you can neither go backwards nor forward…when you are convinced that all the exits are blocked, either you take to believing in miracles or you stand still like the hummingbird. The miracle is that the honey is always there, right under your nose, only you were to busy searching elsewhere to realize it.” -Henry Miller
Another great song that highlights Tyler Lyle’s amazing talent as a singer, songwriter, lyricist. Apparently this is the acoustic version of the same song which will be on The Midnight’s next album.
Released February 20th, 2019

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In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album ​The Devil You Know​. The band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance. “The writing process was done with an open heart,” says guitarist/vocalist Julia Kugel. “Everything that came before had to go away. And we started there, at ground zero.” With each album, you could hear the individual songwriters honing their style. But with ​The Devil You Know, it feels like we’re hearing the first Coathangers record written as a true unit.

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The Coathangers ‘The Devil You Know’
Out March 8th, 2019 via Suicide Squeeze Records.

At a certain point, when talking about the modern “Emo Revival,” we should probably just drop the “Revival” part and call it what it is: a full-fledged, thriving movement. Some of the scene’s most defining and forward-thinking music has come out in the last couple years. And many emo records released in this past year have not only helped expand and evolve genre, but were among the best albums released in 2018. And no album from that bunch stood out more than the heart-wrenching “Get Well Soon” from Atlanta band World’s Greatest Dad. Anchored by the powerful presence of singer-guitarist Maddie Duncan, the band’s debut LP is a bulletproof set of emo and indie rock tracks, with endless catchy hooks and empathetic themes flowing throughout. On searing single “Laughing (While You’re Smiling),” Duncan’s expressive vocal delivery yields mass-singalong energy as she parses the emotional complexities of a relationship: “I’m trying to learn the difference between love and codependence,” she admits, before realizing “I need to start being honest with myself for me to start…” a line sure to hit those of us in therapy right where it hurts.

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Nonetheless, this album nails every emotional beat, capturing moments of guarded optimism (soaring opener “New Recording 3”), poignant sadness (thoughtful ballad “Fireworks”) and numbing frustration (rollicking pop-punk jam “Healthy Living”). Furthermore, motifs of self-loathing, addiction and recovery fill out the rest of this ultimately heartwarming album. On Get Well Soon, World’s Greatest Dad deliver the year’s most honest and painfully relatable self-care pick-me-up.

Released May 11th, 2018

all songs written by Worlds Greatest Dad and perfected
by Ben Etter

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Last year, beloved Atlanta alt-rockers Manchester Orchestra explored their softer side on an excellent sixth studio album, A Black Mile To The Surface. For Black Friday Record Store Day, they’re releasing a vinyl with six demo versions of songs from that record. The Black Miles Demos will be shoppable in the form of a 12” LP and will feature the following songs: “I Know How To Speak,” “It’s Amazing,” “The Gold,” “No Ears,” “Each Part” and “Amplified In The Silence.” Move fast if you want one: There are only 2000 limited edition in existence!

6 track Opaque Flume Coloured Vinyl featuring the demos for Black Mile. These are the initial, rough-around-the edges recordings, done with one microphone in some distant and often strange locations before they were continued to be worked on in Asheville, NC at Echo Mountain studio

“We’re a band that loves to use heavy, crunchy guitars,” says frontman Andy Hull. “We wondered how we could limit the use of that, so that when the guitars come in they can be creative and impactful. For Swiss Army Man [a Sundance hit the boys worked on] we had to make seventy minutes of music with our hands tied behind our backs. When you’re creating all the sounds you need just from the human voice, it allows you to rethink what is possible, and determine what is really needed. We wanted to make an album in a ‘ non-Manchester’ way if there is such a thing.”

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Omni is an indie post-punk trio who write coarse, angular tunes meant to be jammed at full volume. They embody simplicity at its finest with every tone, riff and beat precisely dialed in to satisfy its specific contribution to the whole.

With Philip Frobos’ partially monotone voice coupled with Frankie Broyles’ skilled, wiry guitar sounds the band create a pit of tension. The sound is hardly ever rounded out, but if you are familiar with Omni, you’re well aware that they aren’t necessarily looking to fall in line with popular music trends. The authenticity of the trio makes the punchy chords and anxiety ridden basslines all the more digestible. Frobos attributes their sound to that of the New Wave genre, and it’s undeniably true, especially up close and in person.

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Band Members 
Frank Broyles – Guitar ,
Philip Frobos – Vocals and Bass,
Doug Bleichner – Drums,