Friday August 25 @ 787 Windsor | 787 Windsor St SW, Atlanta, GA 30315  
RED BULL CULTURE CLASH - ATLANTA
7pm | 15-25 | 18+
4 Stages. 4 Crews. 1 Winner. The world's biggest music battle returns to the U.S. this summer.

Inspired by Jamaican sound clashes, Red Bull Culture Clash heads to Atlanta on Friday, August 25.

The massive musical battleground will feature four crews: EarDrummers featuring Mike WiLL Made-It, Enjoylife featuring Wondagurl, Unruly featuring Popcaan, and Disturbing London featuring Tinie Tempah -- bringing exclusive music, special guests, surprises and more to win the crowd's support.

Watch the trailer and find more information on Red Bull Culture Clash here.

EarDrummers ft. Mike WiLL Made-It
(Hip-Hop/Rap)
Atlanta's EarDrummers feature Mike WiLL Made-It. Mike is one of the most in-demand producers in music right now, producing hits like Rae Sremmurd's "Black Beatles" and Beyonce's "Formation," and is sure to pull out all the stops for this hometown event.

Disturbing London ft. Tinie Tempah
(World Dance)
Disturbing London features Tinie Tempah. From Laos to London, the crew will bridge their Nigerian roots to bring fierce competition to Culture Clash Atlanta.

Unruly ft. Popcaan
(Jamaica)
As part of last year's winning Culture Clash UK crew and representing Jamaica--the birthplace of the sound clash--Unruly featuring Popcaan will bring serious Caribbean heat to battle.

Enjoylife ft. Wondagurl
(Hip-Hop/Rap)
Canadians are known for being nice, but Enjoylife will be ready to fight. These contenders will be led by 20-year old Toronto-based production prodigy Wondagurl, who has worked with JAY-Z, Drake, Rihanna and more.

Mike WiLL Made-It, Popcaan, Tinie Tempah and WondaGurl will battle for Red Bull Culture Clash supremacy in Atlanta on August 25.

Things escalated quickly at Red Bull Culture Clash last year, when the charismatic Jamaican star Popcaan called out Wiz Khalifa on stage in front of 20,000 people at the O2 Arena in London, England. Moments later, it was Khalifa's turn. The gaunt Pittsburgh rapper responded in kind, and before too long there was an all-out diss battle between the two artists and their crews. In the end, it was Drake - who else? - that settled things.

No, the OVO boss didn't appear on stage. But Popcaan, who's collaborated with Drake in the past, busted out a never-heard-before dubplate (recorded on acetate just for Culture Clash that night) of the hit One Dance and had the entire crowd jumping in unison. Over. Out. At Red Bull Culture Clash - which is one part concert, one part competition and an all-out dance party - the unexpected is what's expected.

The unique music event first took place in London in 2010, as a nod to the riotous sound clashes originating in Jamaica in the 1950s, where music crews built massive custom soundsystems to blast at each other in the street. Culture Clash formalised that cultural pursuit into a competition and by 2016 it had grown to fill the cavernous O2 Arena.

Now it's 2017 and Culture Clash has become a global event series with stops in Johannesburg, Milan and now on August 25 at the 787 Windsor in Atlanta, USA. There, four crews led by Jamaican star Popcaan, Atlanta super producer Mike WiLL Made-It, Toronto production prodigy WondaGurl and British rapper Tinie Tempah will face off in a battle royale to win over a crowd of 3,000 fans.

Jamaican sound clashes go back more than 60 years. Luciano, the roots reggae singer told Red Bull Music Academy in 2016, "Sound clash is a form of sports, but some of these brothers turned it into more serious sport, like bloodsport." Over the years the culture built around sound clashes, and the elaborate soundsystems that power them, have migrated with the Jamaican diaspora to London and beyond.

Red Bull Culture Clash consists of four rounds, with each crew occupying four stages in the four corners of the venue and the crowd in the middle. Each crew takes a timed turn in the spotlight. There are very specific rules to Culture Clash, with an emphasis on track selection, energy and surprises. Songs cannot be repeated. And the crowd - guided by the night's host - decides the winner.

MEET THE CREWS:

EarDrummers ft. Mike WiLL Made-It

Mike WiLL Made-It started his production career with a track with Gucci Mane, who gave the Atlanta producer his name, and has since become a strong influence in hip-hop and pop music (he produced the Miley Cyrus coming out party Bangerz). With his label EarDrummers, Mike WiLL is responsible for bringing artists like Rae Sremmurd, not to mention their hit Black Beatles to the masses.


Mike WiLL Made-It, Popcaan, Tinie Tempah and WondaGurl will battle for Red Bull Culture Clash supremacy in Atlanta on August 25.

Things escalated quickly at Red Bull Culture Clash last year, when the charismatic Jamaican star Popcaan called out Wiz Khalifa on stage in front of 20,000 people at the O2 Arena in London, England. Moments later, it was Khalifa's turn. The gaunt Pittsburgh rapper responded in kind, and before too long there was an all-out diss battle between the two artists and their crews. In the end, it was Drake - who else? - that settled things.

The Brooklyn crew Mixpak hold their Red Bull Culture Clash 2016 trophy after winning in London.
Mixpak winning Red Bull Culture Clash 2016© Steve Stills/Red Bull Content Pool
No, the OVO boss didn't appear on stage. But Popcaan, who's collaborated with Drake in the past, busted out a never-heard-before dubplate (recorded on acetate just for Culture Clash that night) of the hit One Dance and had the entire crowd jumping in unison. Over. Out. At Red Bull Culture Clash - which is one part concert, one part competition and an all-out dance party - the unexpected is what's expected.

A$AP Rocky performing live on stage at Red Bull Culture Clash 2016 in London, England.
A$AP Rocky at Red Bull Culture Clash in London© Getty Images/Red Bull Content Pool
The unique music event first took place in London in 2010, as a nod to the riotous sound clashes originating in Jamaica in the 1950s, where music crews built massive custom soundsystems to blast at each other in the street. Culture Clash formalised that cultural pursuit into a competition and by 2016 it had grown to fill the cavernous O2 Arena.

Red Bull Culture Clash hits Atlanta with Mike WiLL Made-It, Popcaan, WondaGurl and Tinie Tempah on Aug. 25, 2017.
Red Bull Culture Clash Atlanta 2017© Red Bull Content Pool
Now it's 2017 and Culture Clash has become a global event series with stops in Johannesburg, Milan and now on August 25 at the 787 Windsor in Atlanta, USA. There, four crews led by Jamaican star Popcaan, Atlanta super producer Mike WiLL Made-It, Toronto production prodigy WondaGurl and British rapper Tinie Tempah will face off in a battle royale to win over a crowd of 3,000 fans.

RELATED

Brush up on the Red Bull Culture Clash rulebook
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16.06.2016

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16.02.2017

Jamaican sound clashes go back more than 60 years. Luciano, the roots reggae singer told Red Bull Music Academy in 2016, "Sound clash is a form of sports, but some of these brothers turned it into more serious sport, like bloodsport." Over the years the culture built around sound clashes, and the elaborate soundsystems that power them, have migrated with the Jamaican diaspora to London and beyond.

A$AP Rocky and A$AP Mob competing in Red Bull Culture Clash
Red Bull Culture Clash© Tom Oxley / Red Bull Content Pool
Red Bull Culture Clash consists of four rounds, with each crew occupying four stages in the four corners of the venue and the crowd in the middle. Each crew takes a timed turn in the spotlight. There are very specific rules to Culture Clash, with an emphasis on track selection, energy and surprises. Songs cannot be repeated. And the crowd - guided by the night's host - decides the winner. If you want to know more, the full rules can be found here.)

Meet the crews

Mike WiLL Made-It leads the EarDrummers into Red Bull Culture Clash Atlanta 2017 on August 25, 2017.
Mike WiLL Made-It© Red Bull Content Pool
EarDrummers ft. Mike WiLL Made-It

Mike WiLL Made-It started his production career with a track with Gucci Mane, who gave the Atlanta producer his name, and has since become a strong influence in hip-hop and pop music (he produced the Miley Cyrus coming out party Bangerz). With his label EarDrummers, Mike WiLL is responsible for bringing artists like Rae Sremmurd, not to mention their hit Black Beatles to the masses.

Popcaan will lead the Unruly Crew at Red Bull Culture Clash Atlanta 2017 on August 27, 2017.
Popcaan© Red Bull Content Pool
Unruly ft. Popcaan

In addition to collaborating with buzz artists such as Drake, Jamie xx and Gorillaz, Popcaan recorded one of the best dancehall albums of the past few years with 2014's Where We Come From - a collection of tracks that showed how versatile he could be within the genre. He helped his label Mixpak win Culture Clash in 2016, so you know he'll bring something special to Atlanta.

Disturbing London ft. Tinie Tempah

Tinie Tempah has carved a name for himself in music and fashion with the label Disturbing London. In addition to a slew of hit songs in the UK and a steady presence in the GQ Best Dressed lists, the rapper and singer performed at the closing ceremonies of the London 2012 Olympic Games.

Enjoy Life ft. WondaGurl

WondaGurl is a Canadian producer who made a name for herself as a teenager, when in 2013 she crafted beats for Travis Scott, Jay-Z's Magna Carta Holy Grail and SZA. She has since grown her resume to become one of the most in-demand producers in hip-hop, and beyond, with tracks for Usher, Big Sean, Lil Uzi Vert and more.

Red Bull Culture Clash will be broadcast live on Red Bull Radio on August 25 at 19:00p.m. EST.




Wednesday September 6 @ Variety Playhouse | 1099 Euclid Ave NE
Atlanta, GA 30307
 
Triple D's & Tight Bros present:
THEE OH SEES
All The Saints
7pm | $20 | All Ages
Thee Oh Sees are the latest incarnation of songwriter, singer, guitarist (and Castle Face fearless leader) John Dwyer's ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late '90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.
In time OCS morphed into an actual band, and worked under the usual flurry of names, most notably as the Oh Sees or the Ohsees, and eventually as Thee Oh Sees, featuring Dwyer on guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit (sometimes listed as Petey Dammit!) on guitar, and Mike Shoun on drums. Along with a relocation to Los Angeles in 2014 the band has re-spawned a few times into their current incarnation of Tim Hellman on bass, Dan Rincon and Paul Quattrone on drums.

Sunday September 10 @ Aisle 5 (Little 5 Points) | 1123 Euclid Ave NE, Atlanta, Georgia 30307  
Tight Bros & Triple D's present
TEI SHI
8pm | $15 | All Ages
Crawl Space documents Tei Shi's transformation from the cautious and curious new kid on the block to a confident, self-possessed artist. Written and recorded over a year and a half, the album traces a much wider arc, from Tei Shi's earliest musical explorations to this, her first long player. Growth is never easy, though, and if the title makes the process sound difficult, even claustrophobic, that's because it was. In fact, there is a palpable physicality surrounding this record, and it reveals itself everywhere: from the album's song titles (Keep Running, Lift Me), to its rhythms, to its astonishing cover art. Constant motion is a fact of life. A real, physical crawlspace fits only one person and demands that person move forward, out and through it. Tei Shi's debut evokes that feeling and the experience of centering oneself, changing focus.

Born Valerie Teicher, Tei Shi remembers composing songs as early as eight years old -- sometimes in a diary, other times recording herself on tapes (some of which are featured on the album) -- setting down phrases or melodies as they came to her. Born in Buenos Aires and growing up between Bogota, Colombia and Vancouver, Canada, she began dreaming of herself as a singer, a performer and an

artist. Perhaps symbolic of this newfound determination, around the same time, she struggled with an extreme fear of the night and entered a period of insomnia. To combat this new fear of the dark and unknown she forced herself to hide inside her family home's crawlspace for a minute each night, in order to confront her fear. This crawl space became a sort of symbol for her at this formative phase of her life.

Teicher treated her musical aspirations the same way for some time - comforting and important, but still secret, still too personal to really show the world. "For the first year or two, I was testing the waters," she says. "I wanted to be in the background a bit, to put the music out there and have it be more of an abstract thing. All of the earlier artwork was a little more ethereal, too; it didn't have me on it." Even as she began to study and release music, this instinct to hide kept a hold on her.

With each new song and performance, however, successes and encouragement began to pile up and while at the beginning Tei Shi flourished in a collaborative and peer-based environment she realized over time she needed to reclaim her own singular creative space. "I started to realize I didn't have a clear sense of myself as an artist independent from the people I was surrounded by," she says. Ultimately it took the end of a relationship that had begun around the inception of herself as Tei Shi to spearhead her own musical development. "That relationship was not only a huge part of my life, it was an integral part of the identity I had formed around Tei Shi," she explains. "It had spanned my whole experience as Tei Shi and had been very interwoven with it." That breakup came to a head partway through recording the songs that would come to make up Crawl Space, and while the relationship is deeply embedded into the album, the songs explore something less like heartbreak, something closer to the deconstruction of identity.

Throughout every song, Tei Shi brings a remarkable clarity to the very act of vulnerability, to exposing oneself and inviting others in. Album opener and lead single "Keep Running" is as telling a song as any, balancing futuristic, deconstructed pop with an expert dash of something new wave, almost italo-disco. Tei Shi's voice cuts through with a sweet melody and a warning to "keep running, keep running for me." It is as much a command as an act of mercy, and the urgency is met with the finality of a refrain that "time is up." "How Far", a song Tei She describes as among her most personal and fulfilling, is minimal but bent on pushing maximal limits. As Tei Shi's soprano reaches dizzying heights, "How Far" explores what we to do when a relationship becomes destructive, when you're trying to change one another into something the other person simply can't be. Here, Tei Shi wonders aloud how much can one person or even one bond between two people take before it falls apart, as she asserts that "If it pleases you to see me struggling, I will...If it pleases you to see me sorry, I'm not." "Say You Do" follows immediately and doubles down. Tei Shi's voice is crystal clear and unaffected here, her self-awareness front and center.

"Earlier in my career, I hid because I wanted first and foremost to be seen as a creative person making music. I thought that if I presented myself as a singer people wouldn't get that I write, that I produce too. "People have this idea that you can only check some of the proverbial boxes as a creative woman, that you can't be attractive and sexual and a great singer and a solid performer and a great writer and be in control of your creative space, as if some of those are mutually exclusive for a human woman. My ambition is to represent all of those without having to sacrifice one for the other.

Like the album's themes, its visual concepts reflect Tei Shi's personal sea changes. Visual nods to motifs like Flashdance were never intentional, but make sense in hindsight. "I wanted something more raw, feminine and sexy but still real," says Tei Shi. She counts artists like Fiona Apple, Debbie Harry, and PJ Harvey among her inspirations -- women who sexualized themselves in a way that wasn't contrived but instead elevated each's independence and creative authority. "For this record, I definitely realized I want to be identifiable as me, my personality and my music. You want that connection, you want people to get who you are, so you have to show them." Similarly, Crawl Space would be incomplete without the gorgeous "Como Si", a nod to Tei Shi's childhood in Colombia and her bilingual upbringing. Originally written as a poem before she set it to a melody, it is the first song Tei Shi has ever released in Spanish. "I really wanted to do something in Spanish because it's such a big part of my identity. I love the language and it's a way of preserving this part of myself.

Crawl Space traces the arc of major changes across every facet of Tei Shi's life, and embodies the sound of an artist creating and commanding her own space. And while the process can be claustrophobic, Tei Shi proves that it can also be liberating, even exhilarating.

Friday September 15 @ Drunken Unicorn | 736 Ponce De Leon Ave  
DUST MOTH
MUSTARD GAS AND ROSES
9pm | $8 | 18+
Dust Moth first stormed out of the gates as a six-piece juggernaut of veterans from Seattle's music community. Their debut EP Dragon Mouth was a tightly crafted amalgam of rhythmic brawn, mournful melodies, and dreamy atmospherics. It was as if the bass and drum combo of Jawbox was paired with the guitar work of Doves and capped off with the assertively feminine vocals of Chelsea Wolfe.

MUSTARD GAS AND ROSES
"So it goes" is the primary recurring refrain in Kurt Vonnegut's Slaughterhouse Five. It's a nihilistic phrase--a resigned response to death and tragedy. Its repetition throughout the book is a kind of attrition, with the despair and inhumanity of war being reiterated until it borders on absurdity. Other refrains make multiple appearances in the book. The narrator describes his drunken breath as "mustard gas and roses." Later, that same phrase is used to describe the smell of corpses after the bombing of Dresden. "Mustard gas and roses" becomes its own type of attrition, a repeated bombardment and reminder of our crimes, from petty inebriations to horrific massacres.

Guitarist Mike Gallagher understands how repetition can serve as an attack strategy. Over the course of five albums, Gallagher's old band Isis demonstrated how simple recurring motifs could build into earthquaking climaxes. And in his spare time, he constructed paired down models of this principle under his solo moniker MGR (Mustard Gas & Roses). Armed with little more than a guitar, some effects, and the occasional auxiliary instruments, Gallagher composed instrumental pieces that fluctuated between whispers and cataclysms. It was a strategy on par with his namesake's creator: rather than bludgeoning the audience with horror, minor dramas were threaded together into blanketing tapestries of tragedy. The first three MGR albums, Nova Lux, Wavering on the Cresting Heft, and 22nd of May were as intimate as a narrator's breath and as harrowing as sifting through the wreckage of battle.

But then Gallagher took a moment away from music. "After Isis disbanded in 2010, I wasn't too busy with music and I thought I might be done playing in bands," he says of his hiatus. It was only when an invitation came to open a European tour for A Storm Of Light that MGR was resurrected. Gallagher recruited some of his tourmates to play with him, creating a full-band version of MGR. Shortly after, Boris and Pelican offered MGR some California dates, and Gallagher enlisted Jay Bennett (Ides of Gemini, Black Mare), Bryan Tulao (Chelsea Wolfe, Black Math Horseman, Mother Tongue), and Sash Popovic (Black Math Horseman, Mother Tongue) to round out MGR into a proper band. With this full-band line-up, MGR recorded its third album, Becoming.

It's an appropriate title for an album that feels like a transition into a new phase of MGR. While the eight songs on Becoming adhere to the pensive gloom of Gallagher's past work, the full band arrangements allow the compositions to build into even more grandiose apexes. From the rolling boil of the opener "Closer" to crushing chords of album finale "Rise", MGR explores their newfound boundaries of volume and dynamics afforded by the addition of dueling guitars, drums, and bass. Even besides the added heft from the rhythm section and second guitarist, there are new sonic forays for MGR on their latest album. Title track "Becoming" is a shining example of an expanded palette, with acoustic guitars and chanted vocals summoning the kind of dark folk music championed by Michael Gira and David Eugene Edwards. These more nuanced moments are offset by the minimalist bludgeoning of tracks like "As One", which conjures the brute instrumentals of Dutch post-metal pioneers Gore.

Becoming is the rebirth of MGR. And while vestiges of Gallagher's brooding isolated ballads can still be heard in the orchestrated roar of his revamped project, it feels very much like a resurrection, a second life. So it goes.


Saturday September 23 @ Terminal West | 887 West Marietta St. Studio C
Atlanta, GA
 
Triple D's, Tight Bros, Terminal West present:
PERTURBATOR
8pm | $20 | 18+
A former black metal guitarist who switched to dark synthwave, James Kent aka Perturbator got his genre-free attitude toward music from his parents, one of them being rock critic Nick Kent. He was given a Pantera album at the age of three, and a guitar at the age of 11. After learning Tool and Slayer riffs on the guitar, he began writing his own music, but Mom and Dad's synth collection was also calling, and the younger Kent took to the keyboards with both metal and cyberpunk attitudes. He debuted his sound with the 2012 EP Night Driving Avenger while two albums, Terror 404 and I Am the Night, arrived that same year. The combination of retro-techno and aggression attracted the developers of the campy and violent video game Hotline Miami, who added Perturbator to contribute to the 2012 game's soundtrack. The Sexualizer EP followed in 2013, and was reissued by the Finnish extreme metal label Blood Music. The label also issued Perturbator's concept LP Dangerous Days in 2014. Work on the Hotline Miami 2: Wrong Number soundtrack followed in 2015, then Dangerous Days' story of a religion using technology to persuade followers was continued on the 2016 concept album The Uncanny Valley. ~ David Jeffries, Rovi

Tuesday October 3 @ Drunken Unicorn | 736 Ponce de Leon Ave NE, Atlanta, Georgia 30306  
Tight Bros & SpeakeasyPromo present:
MOON DUO
Birds Of Avalon
9pm | $12 | All Ages
Meaning all things magick and supernatural the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light. Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. In Chinese Yin means "the shady side of the hill" and is associated with the feminine, darkness, night, earth. Following this logic Vol. 1, embraces and embodies Moon Duo's darker qualities -released appropriately on February 3rd, in the heart of winter in the Northern Hemisphere. Yang means "the bright side of the hill" and is associated with the male, sun, light and the spirit of heaven and as such Vol. 2 explores the light and airy elements of Moon Duo's complex psyche, and will be released in the spring as the darkness of winter is replaced by the appearance of new life. Written and recorded in their hometown of Portland, Oregon, the two-part epic reflects the hidden energies of rainclouds and sunshine and the deep creep of Northwest forests along with their effect on the psyche, inspired by the occult and esoteric literature of Mary Anne Atwood, Aleister Crowley, Colin Wilson, and Manly P. Hall. According to guitarist Ripley Johnson, "the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There's something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and hermetic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe."Adds keyboardist Sanae Yamada, "the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain."

Sonically the new records represent a dimensional shift in perspective for the band. Just as the season of autumn represents letting go in the form of trees shedding leaves, so Occult Architecture is a shedding of genre tropes, and an inviting in of new textures and soundscapes reflective of the album's shimmering Yin/Yang qualities. Intricately structured, it is threads, fragments and traces rather than the direct influences that are heard. Yet listen carefully and clattering of bongos reminiscent of Popol Vuh, the fuzzy synth grind of Throbbing Gristle, the no-fi guitar of Chrome and the echoing infinity of Achim Reichel might all be discerned. More fragments, threads and traces are apparent in the form of the haunting and trance-like vocals which whisper and wail in between. Meanwhile, a deep interest in synthesis is evident throughout, especially in the keyboard work of Yamada: "I try to employ synths in a really visceral way - so they sound alive and kind of violent at times. On this record I wanted the synth parts to be like textural animals that writhe around one another and react to their surroundings."The rhythm and drum duties on the recordings fell to regular tour drummer John Jeffrey, who weaves into the pattern spooky percussion and funk-inspired electro-acoustic beats. The albums were mixed separately with longtime collaborator Jonas Verwijnen, in different locations further expanding the album's duality further; Vol. 1 in Berlin and Vol. 2 in Portland. The result is a journey from darkness into light and from the shady side of the hill and back to the sunny side, reverberating with all that is eternal and infinite in the endless and mysterious architecture in which both sides harmoniously exist.
Official Website http://www.moonduo.org/

Friday October 6 @ Terminal West | 887 W Marietta St NW, Ste C, Atlanta, Georgia 30318  
TW + Tight Bros + SpeakeasyPromo present:
COM TRUISE
NOSAJ THING
Cleopold
8pm | $18adv | 18+
Com Truise is one of the many personas of producer and designer Seth Haley, born and raised in upstate New York and operating out of a 12'-overrun apartment in Princeton, New Jersey. An admitted synth obsessive, Com Truise is the maker of an experimental and bottom heavy style he calls "mid-fi synth-wave, slow-motion funk".

Haley's been making music on the side for roughly a decade--going through pseudonyms like toothbrushes (Sarin Sunday, SYSTM, Airliner)--first as a DJ, and currently, as an excavator of softer, window-fogging synth-wave.

While subliminally informed by both parental record collections and hints of faded electronics product design, Haley's Com Truise project isn't just nostalgia capitalization. There are fragments (read:

DNA strands) of Joy Division, New Order, and the Cocteau Twins, but it's like you're hearing them through the motherboard of a waterlogged Xbox--demented and modern. He's got a way of making familiar things sound beautifully hand-smeared.

The first Com Truise release was the Cyanide Sisters EP--distributed for free on the AMdiscs label--where mellow stone-outs like "Sundriped" and "Slow Peels" sat next to harder IDM bangers ("BASF Ace" and "IWYWAW") and bumpy alt-funk trips ("Norkuy" and "Komputer"). After that came a single "Pyragony/Trypyra," and a series of eclectic podcast mixes titled "Komputer Cast." Now comfortably situated amidst the Ghostly roster, he's prepping his next warped pillage, and hopefully not changing that name again.

Thursday October 12 @ Drunken Unicorn | 736 Ponce De Leon Ave  
MATT POND PA
Wild Pink
9pm | $12 | All Ages
All year round, it's still summer. And indie rocker Matt Pond's adventure continues. The brakes are shot, the pickup truck is rusted through and overheating. Everyone is out of their minds.

Matt Pond is not outspoken, but he loves to speak and to be spoken to. To dive into the frigid water of understanding and trust the depth. To write songs that make sense of ridiculous daily dissonance, beautifully failed relationships, of the brilliant miscalculations in an easy whisper. It's that simple: It was all for the experience; it was all for the ride.

At around ninety-five miles an hour, the steering wheel will start to uncontrollably shake in most high-mileage, fifteen-passenger vans. At the same speed and in the same state of mind, it's nearly impossible to navigate the murky world of music. Since its inception in Philadelphia in 1998, Matt Pond PA has traveled a road of perpetual transformation, a shifting cast of copilots and collaborators defining the band's every season.

On August 11, 2017, matt pond PA will release Still Summer, their twelfth full-length album and the second Pond is releasing under his independent label, 131 Records. "It's not about reliving the past," says Pond. "It's about allowing the present to breathe. It's about holding hands with ghosts and then letting go."

On this album Pond features the likes of Laura Stevenson, Laura Burhenn, Caroline Reese and Anya Marina. And of course there's the copilots, Chris Hansen, Shawn Alpay, Mel Guerison and Kyle Kelly-Yahner, right there with him.

Along with Winter Lives, released in December 2016 by 131 Records, Still Summer will be the last album Pond releases as Matt Pond PA. Over time, a new track or take will be added to each -- this is the never-ending conclusion of Matt Pond PA's strange musical tour.

There will be more music. Yet the serious ones say summer only lasts so long. Soon there will be different titles, unfamiliar names, unforeseen sounds associated with Matt Pond. As if the beginning and the end were one and the same.

Friday October 20 @ The EARL | 488 Flat Shoals Ave, Atlanta GA 30316  
SpeakeasyPromo & Tight Bros present:
MILD HIGH CLUB
8:30pm | $12-14 | 21+
Chicago born and bred Alexander Brettin is the man behind the Mild High Club moniker. After relocating to Los Angeles in 2012, his demos caught the ears of some local musicians and labels, eventually finding their way to Stones Throws' Peanut Butter Wolf. After signing with Stones Throw, Mild High Club released their debut LP in September 2015, which Pitchfork described as Dza record full of psychedelic soft rock that draws strongly from White-album era Beatles and T-Rex, with swirls of '80s-indebted synthpop.dzThe band quickly became a preferred supporting act on the road, touring with King Gizzard & the Lizard Wizard, Allah-las, Quilt, Youth Lagoon, Wire, and appearing at festivals near and wide, their live act described as Dzhypnotizing and etherealdz. The release of 2016's Skiptracing was a major step forward for the band, which Aquarium Drunkard described as a Dzcool, grooving blend of lo-fi psych, lounge, and exoticadz, a thematic, psychedelic jazz-pop odyssey whose story arc follows a private investigator attempting to trace the steps of the sound and the spirit of American music.

Friday October 20 @ Mammal Gallery | 91 Broad St SW, Atlanta, GA 30303  
Tight Bros & Triple D's present
AVEY TARE (animal collective)
9pm | $15 | 18+
Domino is proud to release Eucalyptus, the forthcoming new studio album written and produced by Animal Collective's Avey Tare, out July 21. Recommended listening for dawn or dusk. An electroacoustic movement through leaves, rocks and dust. Written on sunlit bedroom afternoon in Los Angeles, practiced in the dark early hours of the California twilight, and slept on under Big Sur skies.

Recorded by Animal Collective's Deakin (Josh Dibb), featuring chamber orchestration arranged by Eyvind Kang, musicians Angel Deradoorian and Jessika Kenney.

Please visit aveytare.com to solve an interactive puzzle to reveal art, audio and more information regarding the album.

Eucalyptus is available to pre-order now from the Animal Collective store on CD and Deluxe Double LP. The latter format, as pictured below, consisting of a limited edition LP pressing of the album available on 180 gram heavyweight vinyl, a 16 pg 11"x11" lyric booklet featuring marbled artwork by Paige Cleveland of Rule of Three Studio.

Friday November 3 @ Variety Playhouse | 1099 Euclid Ave NE, Atlanta, GA 30307  
JEN KIRKMANThe "All New Material, Girl" Tour
8pm | $20 | All Ages
Jen Kirkman is a stand-up comedian and the author of the book, I Can Barely Take Care of Myself, which became an instant New York Times Bestseller in April 2013. Her debut Netflix Original Comedy Special I'm Gonna Die Alone (And I Feel Fine) is now available for streaming on Netflix worldwide.

Jen was a long time writer and round table guest on Chelsea Lately and is also well known for her roles as the narrator in many episodes of the web-turned-TV series Drunk History which is now in its third season on Comedy Central. You've also seen Jen on her regular appearances on Comedy Central's @midnight. She's done stand up on many late night shows: The Tonight Show with Jay Leno, Conan, John Oliver's New York Stand-Up Show and The Late Late Show With Craig Ferguson. She also voiced many characters on the Cartoon Network cult classic Home Movies.

Jen has released two stand-up albums Hail to the Freaks (released March 2011) which hit #13 on the Billboard Charts. Her debut album was 2006's Self Help. Jen has a weekly podcast, I Seem Fun: The Diary of Jen Kirkman, which is often in the top 100 in comedy on iTunes.

Her second book, "I Know What I'm Doing and Other Lies I Tell Myself; (Dispatches From a Life Under Construction)" will be released through Simon & Schuster in early 2016.
Jen tours the world as a stand-up and recently toured Australia to sold out crowds in both Melbourne and Sydney. She is currently based in Los Angeles.

"Jen Kirkman is a thinking person's comedian. Not by being hyper-intellectual--although she's a fiendishly smart writer and performer--but by doing comedy for people who live inside their own heads." - The Onion AV Club

"Jen Kirkman finds side-splitting laughs in lame weddings and dying alone."- Entertainment Weekly

"Ms. Kirkman knows how to deliver a one-liner, but her inclination is to linger in the telling of a story. She digs into a subject, embroidering it with jokes at various angles. A huge number of her bits culminate in vivid metaphors." -The New York Times

Tuesday November 7 @ The EARL | 488 Flat Shoals Ave  
Tight Bros & OK Productions present:
ARIEL PINK
9pm | $18-20 | 21+
Los Angeles's prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15.

The album's title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. "His book and life resonated with me to such a degree," Pink states, "that I felt a need to dedicate my latest record to him."

Dedicated to Bobby Jameson begins at the end and ends at the beginning. "We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death," Pink explains, referencing the opening track "Time To Meet Your God." "From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability."

Building upon his singular vision of pop songcraft, established by such seminal records as The Doldrums, Worn Copy, House Arrest, Loverboy, Before Today, Mature Themes, and pom pom, Pink revisits themes that have haunted his sonic cinemascapes since the late 1990s: mismanaged dreams, west coast mythologies, itinerant criminals, haunted boulevards, Hollywood legends, the impermanence of romance, bubblegum artifice, movie stardom, childhood terror, acceptance of self, and narcissism projected through a celluloid filter of controversion.

Raised in Beverly Hills, Ariel Pink (born Ariel Marcus Rosenberg) started out as a visual artist before becoming a recording artist in the late '90s while attending Cal Arts. Between 1996 and 2004, he honed his craft writing, performing, recording, and producing a body of work that was experimental, impressionistic, and improvisational--often creating melodic accompaniments and percussive elements with his voice, as opposed to traditional drums or drum machines.

In 2003, Pink attracted the attention of Animal Collective's Paw Tracks label, earning his home recordings a small and devoted fan base through a series of limited edition reissues. Drawing upon a list of long-forgotten iconoclasts and trailblazers like the Shaggs, the Cure, the Velvet Underground, Destroy All Monsters, the Godz, Cabaret Voltaire, and R. Stevie Moore, Pink set himself to the task of redefining the musical lexicon for himself and others. "This mission," he says, "remains mine to this day."

Though critically misunderstood at the time, Pink's lo-fi recordings wielded an enormous influence with insiders and outsiders, earning him the unsolicited distinction as "the godfather of chillwave" and the face of the emergent genre of Hypnagogic Pop. Upon signing to the landmark record label 4AD in 2009, Pink's fortunes with critics began to reverse, and his resulting first single, "Round and Round," was named the #1 Record of 2010 by Pitchfork.

Since that period, Pink's influence has grown, even as he and his work have waxed and waned within the popular political conversation. His music, in its earnest genre drag, continues to polarize. His embrace of the dark edges of human folly and despair is juxtaposed with superficial joy, touching on aspects normally avoided in pop music like sarcasm, suspicion, nihilism, self-loathing, and denial. These shadows of the self make their brighter counterparts--love, desire, nostalgia, dreams, acceptance, and epiphany--all the more transcendent, striking deep chords of emotion with fans. In his frenzied portrayals of humanity's baseness and beauty, Ariel Pink spins pathos into paradise.

Standout tracks from Dedicated to Bobby Jameson include "Feels Like Heaven," a lovelorn insta-classic paying tribute to the promise of romance, "Another Weekend," which encapsulates the lingering euphoria of a regrettable weekend over the edge, "Dedicated to Bobby Jameson," a rah-rah psych romp paying homage to L.A.'s punk history, and "Time to Live," an ironic anti-suicide anthem that promotes survival as a form of resistance before devolving into a grungy, "Video Killed the Radio Star"-style breakdown that supposes life and death as being more or less the same fate and embraces the immortal anarchy of a rock song as an alternative to the prison of reality.

Alternately contained and sprawling, Dedicated to Bobby Jameson is a shimmering pop odyssey that represents more astonishing peaks and menacing valleys in the career of a man who, through sheer originality and nerve, has become an American rock and roll institution. The album marks his first full-length release with the Brooklyn-based independent label Mexican Summer.

Wednesday November 8 @ Drunken Unicorn | 736 Ponce De Leon Ave 
A. SAVAGE (PARQUET COURTS)
Jack Cooper (Ultimate Painting)
9pm | $12 | All Ages
Daybreak tends to creep up on you. Emerging from starry darkness, the sun wobbles at first but proceeds on its scheduled arc. You can't help but wonder if it ever looks back in disbelief, or regret. This feeling of self-reflection--of looking back to see how far you've come--is precisely the sentiment of Thawing Dawn , the first solo record from A. Savage, released on Dull Tools.

The songs on Thawing Dawn form a guided tour through the romantic environs of A. Savage's mirrored mind. While some were written recently, other tunes were penned over the past decade. For one reason or another, these compositions didn't land with any of Savage's other groups, and instead are presented now as a distinct collection. Reflecting back, Savage says, "Once I realized I had a small body of work that didn't fit anywhere else, I started to examine the commonalities: What's the common denominator of all this and how I can expand on it?"

Savage is best known as the frontman for Parquet Court, a duty split with fellow Texan Austin Brown. Their last record, Human Performance , delved into the emotional wreckage of a broken heart, to critical acclaim. But with Thawing Dawn, it's clear that Savage has matured. While assembling the record, he fell in love. Now, for the first time, we hear songs about being on the inside of love. Rather than lamenting the end of a relationship, we hear a voice trying, in the moment, to make sense of love's mysteries. "Part of this maturity," he says, "is reflecting on something when it's happening, not just when it's gone."

Thawing Dawn gives us honesty: We see the artist at home in bed, more singer-songwriter portrait than esoteric statement. Throughout his discography Savage has long abbreviated his first name as a kind of writerly gesture. He says, of the move, "I am an uncivilized member of modern civilization--I'm just a savage." Like Duchamp's R. Mutt signature on a urinal, the shortening embodies a mischievous directness, enabling this savage to introduce his slanted honesty into the universe.

"I always like it when records are good representations of communities," Savage says, and this one succeeds in this regard. These ten songs were recorded between December 2016 and June 2017 by a cast of friends in Jarvis Taveniere's Thump Studios in Brooklyn. Members of Woods, Ultimate Painting, PC Worship, EZTV, and Psychic TV all lend their talents. Savage's voice, once shouted into mosh pits, now glides confidently above its backing band. Thawing Dawn marks the arrival point for Savage as a sensitive and skilled vocalist. A strain of rural inquiry tinges the soundscape, an ongoing trope in Savage's writing most powerfully felt on Parkay Quart's ballad "Uncast Shadow of a Southern Myth ." On this record it is stronger, with a healthy helping of pedal steel guitar, a chorus of female back-up vocals, four familiar chords, and maybe the truth, all layered throughout these songs. Their titles also steer us this way, but don't fully convey the hidden intricacies. "Buffalo Calf Road Woman" opens the record in a burst of C&W energy. The staccato pop piano of "Eyeballs" lays crisply beneath a refrain of heartbreak. "Wild Wild Horses" finds him confessing inside a Talk Talk bubble of guitar static and organ. The build-up of "What Do I Do" yields a guitar freak out that Parquet Courts fans will recognize. You could two-step to the swing of "Phantom Limbo." "Ladies from Houston" is a Leonard Cohen-like ramble through a party scene. Finally, the title track is a suite of three interwoven songs that closes the record in a beautifully cinematic style.

Throughout, A. Savage delivers one-off lines of razor-sharp observation that will stick in your brain, only to surface when you're least prepared to handle their insights. When you put your copy of Thawing Dawn on your turntable and drop the needle, you'll learn what A. Savage has to say about romance in our modern world. Keep your ears open--it's worth hearing.