Posts Tagged ‘Georgia’

FLAMINGO SHADOW – ” Riding On The Wind “

Posted: December 29, 2017 in CLASSIC ALBUMS, MUSIC
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Hailing from Atlanta, Georgia, Flamingo Shadow are in their own words “a genre-hopping, tropical punk band”. Recently the band released their new single, Riding On The Wind, their first new material since their 2016 debut EP, Vibe Control.

The track is a beautiful merging of styles, the vocal has a bright new-wave quality, fluttering above tremulous guitars that float ethereally around frenetic bass-lines and driving, post-punk influenced beats. It builds to a thrilling crescendo as the vocal becomes an impassioned yelp, repeating the line, “I’m good man, don’t you worry”, as the music swells to a brilliantly energetic finale. With an as yet untitled debut album on the way in the Spring, Flamingo Shadow sound like a band ready for huge things in the coming year.

Riding On The Wind is out now. Click HERE for more information on Flamingo Shadow.

PYLON – ” Live “

Posted: November 23, 2017 in CLASSIC ALBUMS, MUSIC
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Randy Bewley and Michael Lachowski’s simple lines display untoward rhythm and melody, respectively. Curtis Crowe bangs away so obdurately it’s hard to understand why he didn’t become rich. Vanessa Briscoe Hay barks and brays whatever incantatory phrases seem called for. Timeless. Cool.” Robert Christgau, Dean of American Rock Critics 

“[Pylon] stands as shockingly modern and unparalleled these many years later.”  Michael Stipe, R.E.M. 

1983 was a banner year for Pylon. The Athens quartet released their second album, Chomp, on Atlanta-based DB Records, toured the country extensively, and played several opening slots for then-up-and-comers U2. And then, without a hint of explanation, they quit. 

Their final show at the Mad Hatter in Athens, Georgia, was, as was always the case, a frenzy of minimal disco thud, post-punk guitar scree, and deliriously inspired howl. Oh, and dancing — always dancing — both in the crowd and on stage. The gig was recorded (both audio and video) for a failed PBS pilot called Athens Shows, and the tapes were put away and forgotten. That is, until now. 

Around three years ago, after Pylon’s DFA reissues hit the street, Chunklet CEO (and card-carrying member of the Pylon Fan Club) Henry Owings emailed the band bemoaning the lack of bonus material on the CDs, which sparked a larger conversation. “My favorite Pylon is live Pylon,” said bassist Michael Lachowski, with which Henry wholeheartedly agreed. Following a cordial sit-down at Michael’s apartment over the New Year’s holiday of 2015, an exhaustive search began for live recordings by Pylon. More specifically, live recordings from Athens in the early ’80s. Oh, and that sounded as good, if not better, than their proper full-length albums. 

Numerous dead ends followed, but finally, and somewhat fittingly, the multitrack recordings of Pylon’s final performance at the Mad Hatter in 1983 were unearthed. Once the tapes were transferred and subsequently mixed, the explosive and compelling sounds raised one very significant question: Why in the world did Pylon quit? 

For a band whose legacy, in their original incarnation at least, was two full-length albums and a handful of singles, Pylon were first and foremost a live band who weren’t as interested in working in a studio. Pylon’s raison d’être was performing for a crowd, and now there’s conclusive validation. 

Pylon Live is a double vinyl album recorded on the band’s home turf at the culmination of their powers, and the results could not be more stellar. An all killer, no filler set with nothing left on the cutting room floor, Pylon Live includes powerful versions of the Pylon canon from their first and second LPs and even the hard-to-find song “Party Zone” (previously available only on a DB Rec comp) and their never-before-released rendition of the “Batman Theme.” 

When compared to the band’s prior body of work, Pylon Live bookends all of it; some might even say it’s a better representation of this Athens quartet, who thrived on bouncing around on stage infinitely more than sitting in a studio. 

There’s little arguing that the Athens powerhouse trifecta of R.E.M., the B-52’s, and Pylon is peerless. And while all three bands have achieved great critical acclaim, only the first two had the commercial acclaim they deserved. Pylon Live intends to correct that. 

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Pylon Live was released on July 25th, 2016, the birthday of deceased Pylon guitarist Randy Bewley,  for sale at chunklet.com, chunklet.bandcamp.com, iTunes, Amazon, and wherever digital music is sold. 

PYLON RE-ENACTMENT SOCIETY – ” Part Time Punks Session “

Posted: November 19, 2017 in CLASSIC ALBUMS, MUSIC
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There’s never going to be a proper Pylon reunion, with all the original members touring the world and celebrating the music of the Athens, Georgia band in front of hungry fans. Though the post-punk quartet did play a scattered bunch of shows over the years after their initial split in 1983, the possibility of a full-fledged revival ended with the death of founding guitarist Randall Bewley. Their music still lives on thanks to the work of vocalist Vanessa Hay and the tribute project she and a number of young Athens musicians started in 2014, the Pylon Reenactment Society.

The PRS have been a steady touring outfit, setting off dance parties all over the U.S. and Europe, but it wasn’t until last month that we were treated to the first recorded document of their efforts. Cut to vinyl with the assistance of graphic designer extraordinaire and head of Chunklet Industries Henry Owings, this six-song beast captures the group during a tour stop in Los Angeles last year where they recorded a session of classics at public radio station KXLU. And it perfectly captures the tireless energy of this outfit, as they crack through some of Pylon’s best known tracks, like “Beep” and “Feast On My Heart,” with fangs exposed and thick dance grooves cut deep into the wax.

On December 11TH, 2016, during a short west coast tour, Pylon Reenactment Society. performed for Part Time Punks at the Echoplex. PTP is a monthly event curated and promoted by Micheal Stock, a DJ at KXLU, Los Angeles. Some of LA’s best female fronted bands who count Pylon as an inspiration, also performed (The Tissues, PANTHAR, Sex Stains). While there, Michael Stock invited PRS into the studio to record songs in the spirit of John Peel’s sessions for his show Part Time Punks,

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BLACK LIPS – ” Can’t Hold On “

Posted: November 16, 2017 in CLASSIC ALBUMS, MUSIC
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Black Lips will release new album Satan’s Graffiti or God’s Art? on Vice Records. The album was produced by Sean Lennon and features guest appearances by Sean’s mom, Yoko Ono, as well as Saul Adamczewski of Fat White Family. You can check out first single “Can’t Hold On,” along with album art and tracklist, below.

The band will be on tour later this spring, playing Birmingham’s Hare and Hounds in Kings Heath. Tickets for that show are on sale now. All dates are listed below.

Saul of Fat White Family is also in The Moonlandingz, whose new album was also co-produced by Sean Lennon and also features Yoko Ono, and came out today. Black Lips were born of DIY ethic, working their way from sweaty basement shows in Georgia to huge crowds at international music festivals (including a performance at Fun Fun Fun Fest that appears in Terrence Malick’s forthcoming film Song to Song) to tours in such far flung locales as India, Jordan, Cyprus, Egypt, Lebanon, Iraqi Kurdistan, the United Arab Emirates, and many more. Their latest album, Satan’s graffiti or God’s art? vindicates Black Lips for sticking it out through many years of shifting trends and buzz bands; a sonically captivating document that is as creatively unhinged as it is precisely executed, one of the rawest and most expansive albums in the band’s storied history.

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DRIVE BY TRUCKERS – ” What It Means (Live at Newport Folk Festival) / The Perilous Night “

Posted: November 12, 2017 in MUSIC
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ATO Records presents a new limited edition double-A side single from the Drive-By Truckers featuring “What It Means” recorded live at the 2017 Newport Folk Festival. The cut is imbued with an urgent energy, taking it’s place among the history of the festival and protest music past. Love this track it has echoes of the Band,

It’s paired with a new track: “The Perilous Night” written by Patterson Hood in the wake of the Charlottesville protests, and recorded with David Barbe in Athens, GA. Two dollars from each sale will benefit the Southern Poverty Law Center.

Available as a double A-side 7″: “What It Means” (Live at Newport Folk Festival) b/w “The Perilous Night”.

Band Members
Patterson Hood
Mike Cooley
Brad Morgan
Jay Gonzalez
Matt Patton

WASHED OUT – ” Mister Mellow “

Posted: November 11, 2017 in CLASSIC ALBUMS, MUSIC
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The move to Stones Throw Records with the release of Mister Mellow—Washed Out’s first album since 2014 ushered in a new iteration of the group that is sample based, chopped and screwed with a dash of his tropical influence. This album is full of low-key, trippy club bangers that feel as though they were meant for ending your night in the early hours on an Ibiza Beach. Laid back melodies with dreamy vocals and the odd flush of psychedelica makes this a pretty enjoyable listen.

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ALGIERS – ” The Underside of Power “

Posted: November 7, 2017 in MUSIC
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“I heard someone say once that you don’t know what real power is until you’re on the wrong side of it,” Algiers front man Franklin Fisher has said about his band’s title track to the album The Underside of Power, came out on June 23rd via Matador Records. The psych-soul troubadours are mindful of privilege — who has it and who does not here, choosing to point out how the have-nots are particularly vulnerable to those in positions of authority. “I’ve seen the dead walk among the living,” Fisher sings against a stomping beat, reminding us to look beyond our individual and collective bubbles.

Responsible for one of the most critically applauded LPs of the year The Underside Of Power, US experimental ‘dystopian soul’ quartet Algiers will play the U.K in November.
Hailing from Atlanta, Georgia and featuring former Bloc Party sticksman Mat Tong among their ranks, The Underside Of Power scored unanimous praise, Clash lauding the disc ‘It is one of the year’s very best albums, and sets out Algiers as one of the decade’s very best bands’.
Signed to US indie powerhouse Matador (Savages, Kurt Vile, Yo La Tengo), the LP was produced by Adrian Utley of cherished group influence Portishead.  Fronted by the stunning vocals of Franklin James Fisher, their lyrics draw inspiration from the present tumultuous age, the group’s music a dazzling combination of classic sixties soul and post-punk experimentation influenced by Afrobeat, Big Black, Public Image Limited and Nina Simone, alongside the film scores of John Carpenter and Wendy Carlos.
With the new album surely set to be a staple of the year end lists and a European stadium tour opening for Depeche Mode recently completed, 2017 is shaping up to be Algiers’ biggest year to date.

JUAN DE FUCA – ” Solve / Resolve “

Posted: October 30, 2017 in CLASSIC ALBUMS, MUSIC
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Lifting their name from a Greek maritime explorer in the service of King Philip II of Spain was a pretty boldly high-brow move for Athens, Georgia based band Juan De Fuca. The band, which began life as the solo project of Jack Cherry, have now morphed into a five-piece band, and will release their debut LP, “Solve/Resolve” early next year on Arrowhawk Records. Shortly after singer/songwriter Jack Cherry released a 6 song solo EP cavern of in 2015, he was fervently encouraged by friends in the Athens, GA scene to make something bigger happen with his material. Bassist Jack Webster and drummer Howard Stewart pushed for the formation of a full band, and when guitarists Clark Brown and Declan Farisee signed on, the group began work in earnest developing their sound.

Ahead of that release, this week has seen the band share their sprightly new single, All The Time. The track is a winningly shambolic affair, recalling the precise yet jagged guitar work of The Walkmen and the densely, layered experimentation of Cheatahs. The track seems to always teeter on the edge of collapse, an idea that ties into the lyricism, as Jack half sings/half yells, “I can’t escape, everything all the time, I can’t all deal with, or raise a fist at everything, all of the time”. There’s a real feel of cathartic anguish here; much of the record was inspired by a close friend’s suicide, and Jack has suggested Solve/Resolve is a record about not overcoming grief, but simply learning to live with it, as he explains,“it’s about trying to overcome something that you are just absolutely living with for the rest of your life”. In this blissful musical chaos, Juan De Fuca offer no resolution, just a helping hand that says we are not alone.

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The Band

Jack Cherry
Howard Stewart
Jack Webster
Clarke Brown
Declan Farisee

Solve/Resolve is out January 12th via Arrowhawk Records.

The ALLMAN BROTHERS BAND – ” Live at the Atlanta International Pop Festival “3rd & 5th July 1970

Posted: July 30, 2017 in CLASSIC ALBUMS, MUSIC
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The Allman Brothers Band hit the ground running on their self-titled 1969 debut, and never stopped. That album was a fine blend of southern rock, gritty blues with a little jazz thrown in for good measure. The following year’s Idlewild South was even better, including such immediate classics as “Midnight Rider,” “In Memory of Elizabeth Reed” and “Please Call Home.” The band’s third release, 1971’s Live At Fillmore East, is often regarded as a pinnacle representation of the group’s collective talents, particularly the distinctive guitar interplay between Dicky Betts and Duane Allman.

However, in the summer of 1970, when The Allman’s were still a relatively unknown act outside of Macon Georgia, the band were booked to perform at the Atlanta International Pop Festival, an event which boasted an impressive list of musical luminaries, including BB King, Procol Harum, Johnny Winter and Jimi Hendrix.

Live at the Atlanta International Pop Festival captures two blistering sets recorded 3rd and 5th July 1970 and, if not quite as enthralling as their shows at the Fillmore East, then are certainly almost as good.

For the first time anywhere officially or not two (mostly) complete performances by The Allman Brothers Band at the Atlanta International Pop Festival over the Fourth of July weekend (they were the bookends of the fest) in 1970 have been issued with stellar sound, complete annotation and cool liner notes. The festival took place while The Allmans were in the process of recording their second album, Idlewild South , when they appeared on July 3rd as the hometown openers of the entire festival and proceeded to blow the minds of over 100,000 people — for their last set on July 5th at 3:50 a.m. they performed in front of as many as 500,000. Musically, other than a somewhat stiff version of “Statesboro Blues” the July 3rd set is magical. There is a stunning version of “Dreams” lasting almost ten minutes with beautiful Hammond/guitar interplay between Gregg and Dickey Betts . Long and ferocious versions of “Whipping Post” and “Mountain Jam” are here, but the track on the July 3rd set is Berry Oakley’s feral vocal read of Willie Dixon’s “Hoochie Coochie Man.”  A short (5:49) version of this song, it has a rock & roll immediacy that is strained out of the longer versions to gain the improvisational edge. Disc one also restores Gregg Allman’s “Every Hungry Woman,” to its rightful place previously only having been available on an anthology. Harp player Thom Doucette, no stranger to Allman Brothers fans , is here aplenty, adding his righteous, stinging harp lines to many tracks on both nights. The way Gregg’s organ playing is recorded here offers a new view of just how integral an anchor he was for both guitarists to play off. He is a monster musician and, even at this early date, was showing off his improvisational and rhythmic skills.

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Packaged in a deluxe gatefold sleeve, with detailed liner notes, Live at the Atlanta International Pop Festival is essential listening for fans of the original classic line-up. Live At Fillmore might receive the majority of accolades, yet Atlanta shouldn’t be ignored. 150 minutes of pure, unadulterated blues-rock is never a bad thing.

VIC CHESNUTT – ” Texas Hotel + New West Records releases “

Posted: January 15, 2017 in CLASSIC ALBUMS, MUSIC
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All Reissues on Vinyl (Shipping as it's released)

Throughout 2017, New West Records is proud to be reissuing Vic Chesnutt’s albums from the Texas Hotel years, along with his New West Records albums, all on exclusive heavyweight 180g colored vinyl. Each of these albums is painstakingly remastered from original source material, and come in colored editions not available anywhere else!

James Victor “Vic” Chesnutt (November 12, 1964 – December 25, 2009) Singer songwriter from Athens Georgia. His first album, Little, was released in 1990, but his breakthrough to commercial success didn’t come until 1996 with the release of Sweet Relief II , which was a charity record of alternative artists covering his songs.

Chesnutt released 17 albums during his career, including two produced by Micheal Stipe Of R.E.M and a 1996 release on “About To Choke” . His musical style has been described as a “skewed, refracted version of Americana that is haunting, funny, poignant, and occasionally mystical, usually all at once”.Injuries from a 1983 car accident left him partially paralyzed; he used a wheelchair and had limited use of his hands. Kristen Hersh wrote a book entitled, Don’t Suck, Don’t Die: Giving Up Vic Chesnutt, which was released on October 1st, 2015

Little, produced by Michael Stipe (January 2017)
Drunk (February 2017)
Is The Actor Happy? (March 2017)
MYSTERY RELEASE (April 2017)
Silver Lake (May 2017)
Ghetto Bells (June 2017)
MYSTERY RELEASE (Late 2017)

We’re so excited to finally put these phenomenal Vic Chesnutt vinyl releases out into the world. Thank you for being a part of it.

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