Friday May 26 @ Drunken Unicorn | 736 Ponce de Leon Ave  
The Orbiting Human Circus feat. THE MUSIC TAPES
9pm | $15 | All Ages
The Orbiting Human Circus & The Music Tapes
Julian Koster (Neutral Milk Hotel) and Night Vale Presents invite you into the world of popular new podcast The Orbiting Human Circus (of the Air) with this enchanting live immersive evening of songs, stories, games, magic, and more by the Music Tapes (Elephant 6 Collective/Merge Records).

About The Orbiting Human Circus (of the Air) Podcast:
Both an immersive theatrical experience and a musical show, this evening commemorates the release of The Orbiting Human Circus (of the Air), a fictional narrative podcast created by Julian Koster (Neutral Milk Hotel) and presented by the creators of Welcome to Night Vale (one of the most downloaded podcasts of all time). Spend an evening with the show's lead character, the hapless Janitor of the Eiffel Tower--played by Koster--who will attempt, and fail, to clean this very venue, as surreal events, songs (by the Music Tapes), and magic simply happen all around him (and you). Debuting in the top ten on iTunes' podcast charts, the podcast--a combination of cinematic audio narrative, song, and sound collage--has reached a loving cult fandom all over the world, has been featured in The New York Times, Pitchfork, and Spin, and was named one of The Guardian's top podcasts of 2016.

About the Music Tapes:
Founded by Koster and Robbie Cucchiaro, the Music Tapes, seminal members of the beloved Elephant 6 Collective, are known for creating unique and extraordinary live events. Their most recent show, 2012's The Traveling Imaginary, toured in a circus tent with its own carnival of surreal games. This tour, in support of Merge Records' release of the new Orbiting Human Circus EP--a collection of songs from the podcast and the Music Tapes' sixth release on the revered indie label--might be the Music Tapes' most ambitious offering to date.

Wednesday May 31 @ The EARL | 488 Flat Shoals Ave, Atlanta GA 30316  
Bowery, Tight Bros & Speakeasy Present:
KIKAGAKU MOYO
8:30 | $10-12 | 21+
Kikagaku Moyo (Japanese for Geometric Patterns) is the musical union between five free spirits. Go Kurosawa (drums, Vocals) and Tomo Katsurada (Guitar, Vocals) formed the band in 2012 as a free artist's collective. They met Kotsuguy (Bass) while he was recording noise from vending machines and Akira (Guitar) through their university. Ryu Kurosawa had been studying Sitar in India, upon returning home he found the perfect outlet for his practice.

They recorded their first EP in a day and posted it to Bandcamp. On the other side of the world, a small label from Greece was listening and offered to press a limited run of LPs. Interest picked up through the blogging community and the band found tight group of dedicated fans around the globe. Since 2013 the band has released two full lengths, an EP, and several singles. They have toured Australia, the United States, Europe and Japan extensively. Kikagaku Moyo love to connect with people through performing, whether they are playing in a barn deep in a Swedish forest, on a desolate Mediterranean beach, or beside a sleepy river at 2014's Levitation Fest they bring out the magic in everyone present.

Their latest release "House in the Tall Grass" (Guruguru Brain) was recorded in the winter of 2015/16 in Tokyo. Their delicate use of melody and soft vocal harmonies contrast seamlessly with fuzzed out sitar riffs and feedback. To Kikagaku Moyo a song is like a breath of wind through the leaves or a fish jumping from the water. Their music is a conversation--sometimes delicate and tender other times explosive, but always human and always changing.

Tuesday June 13 @ The EARL | 488 Flat Shoals Ave 
LITTLE HURRICANE
8:00pm | $15 | 21+
Little Hurricane will be releasing their new album in early 2017. The new bio and press assets are currently being developed.** Here is the the bio from their last release:

For the recording of their sophomore album Gold Fever, San Diego-based dirty-blues twosome Little Hurricane skipped the studio and rented out a 19th-century apple-packing house in an old gold mining town. For two weeks, singer/guitarist Tone Catalano and drummer/vocalist C.C. Spina hunkered down with vintage equipment borrowed from a friend who once recorded with legendary bands like the Grateful Dead and Deep Purple. Sweating through a mid-summer heat wave in their air-conditioner-free surroundings--and often visited by tarantulas, turkeys, deer, and other local creatures--Little Hurricane quickly found their new album taking on a swampy yet ethereal vibe that slyly captures the spirit of the weirder, wilder corners of Southern California.

The follow-up to Homewrecker (the debut album Little Hurricane self-released in 2011), Gold Fever busts open its predecessor's rootsy blues-rock with an Americana-influenced sense of storytelling, a disarming ease with breezy melody, and a broader sonic palette. At turns stark and lushly textured, the album draws much inspiration from Tone and C.C.'s frequent getaways to the desert and their shared love of Salvation Mountain, the Salton Sea, and "all those places where kooky people go to escape the rest of the world," according to C.C. Also essential to Gold Fever's sonics were the acoustics of the recording space itself--located in Julian, California, the house was built from foot-and-a-half-thick stone and crammed with thousands of books left behind by its author-owners--as well as Little Hurricane's use of analog equipment. "It's the same equipment that made those bands sound so good back in the '60s and '70s, and it really helps to balance out the digital edge from the more modern technology we're sometimes using," notes Tone, a longtime audiophile who served as producer on Gold Fever.

Formed in 2010 and fast recognized as a killer live act, Little Hurricane devoted two years to the creation of Gold Fever. "Homewrecker was recorded literally while touring, in kitchens and living rooms all over the place, so for this one we wanted to take more time and see what happened," says C.C. While the album has a heart-on-sleeve honesty that's deeply intimate, Gold Fever also delivers a slew of songs huge in sound and scope. "Playing big festivals over the past couple years and getting on those bigger stages motivated us to write bigger songs," she points out.

Little Hurricane builds off their dirty-blues dynamic for nearly every track on Gold Fever, but infuses each song with such unexpected and inspired touches as the ghosty effects and one-drop rhythm of "Summer Air," the swell of strings on the otherwise frenetic "Sorry Son" (a gut-punching number about C.C.'s brother and his struggle with addiction, written from her parents' perspective), the horn-soaked soul of "Boiling Water," the snakey groove of "No Man's Land" (whose opening lyrics put a playful twist on the Eric Carmen power ballad "All By Myself"), and the handclap-backed strut and growl of "Grand Canyon." Throughout Gold Fever, C.C.'s drumming shifts from thundering and frantic to crisp and razor-sharp, while Tone's guitar work encompasses lead-heavy riffs, bluegrass-style twang, and gorgeously understated soloing. And although Tone serves as Little Hurricane's main vocalist, C.C. lends her honeyed yet earthy vocals to songs like the spooky, swaying "Breathe," the sultry stomper of a title track, and the slow-burning but anthemic lead single "Sheep In Wolves Clothes."

Each of the songs on Gold Fever was sparked from close collaboration between Tone and C.C., who first found each other through a Craigslist ad. Originally from Chicago, C.C. started playing drums when she was just ten-years-old ("My dad brought me home the Iron Butterfly album with 'In-A-Gadda-Da-Vida,' and that had a big impact on me wanting to be a drummer," she says). Attending culinary school after high school (and interning at the House of Blues Chicago's Foundation Room, where her love of blues was born), she moved to San Diego and bought herself a drum kit to get back to playing music.

Born in Santa Cruz and raised on Van Morrison by his "East Coast hippie" parents, Tone picked up guitar in seventh grade and played in a post-punk band in high school and college. Though he'd kept up with guitar over the years, Tone's career was focused on his work in audio engineering, with an expertise in live recordings that led him to work with artists from Gwen Stefani to Led Zeppelin's John Paul Jones. "Working as an engineer, I started to see that a lot of bands were using playback tracks in their live performance," he says. "It bothered me that so few people were just playing music, so I started to look for a drummer to make music of our own."

That commitment to organic, unadorned sound is evident in the Little Hurricane's live experience, which has graced major festivals like Lollapalooza and Austin City Limits in recent years. "Live is what we're really all about, and we try to put on as big a show we can for everyone," says C.C. The stripped-down but amped-up two-piece dynamic also goes a long way in maintaining Little Hurricane's beautifully brutal energy, even on the more intricate and melody-soaked arrangements heard throughout Gold Fever. "One of the most important things for us on this album was making sure we never strayed too far from just good, straight-up rock-and-roll recording," Tone says. "We try to keep it raw and honest, and with the two of us that's not so hard."

Friday June 23 @ Aisle 5 | 1123 Euclid Ave NE  
BRIGHT LIGHT BRIGHT LIGHT
Chelsea Shag
9pm | $15-18 | All Ages
"I had a bit of a cry after I heard the mastered album," says Rod
Thomas, Bright Light Bright Light, of his third long-player Choreography. Rod is not usually the sentimental sort. But he is a man born of the Welsh Valleys. It comes out. Why so emotional this time, Rod? "Because I can't believe I managed to do something I feel so proud of." In the course of its production, Choreography answered a personal and artistic conundrum for Rod. "I've been in a weird position of being too indie to be pop and too pop to be indie. This time I wanted to make a bold, colourful record that celebrates its pop self." This time, he did it.

Rod Thomas is possibly the most independent pop star in the world. He is his own label boss, A&R, manager, tour manager and one time booking agent. He publishes himself and organises all his own artwork. The occasional club he runs, Romy and Michelle's Saturday Afternoon Tea Dance, at the brilliantly named C'mon Everybody bar in Brooklyn, is his concept, execution, playlist and NYC pals. His musical collaborators - Elton John, each individual Scissor Sister, Alan Cumming - are drawn from his own rolodex, free from label interference of what might make bank, invited along to suit his specific tastes. However indebted to classic pop methodology and dotted with indisputably ace pop people they become, his records are every note and beat his own.

After moving from London to New York three years since, multi instrumentalist, singer and for one night only - ta-dah! -dancer Rod Thomas has gone and done it his way. "This one is so close to what it was supposed to be," he says of the record, still looking a little startled at what pop fairydust he managed to sprinkle over the project. "It's a really special thing. The whole thing was about making a record that I give a fuck about with people that give a fuck. That is a joy."

Work began in earnest on Choreography in January 2015. The story of
its' unfolding reads like the script for an unmade Richard Curtis film. At the close of his massive world tour supporting his great friend, mentor and chief Choreography collaborator, Elton John, the maestro took Rod aside invited him to open for him on New Year's Eve at The Barclay Centre, a stone's throw from Rod's new home in Crown Heights. "The whole room went crazy. Just down the road from my flat. It was, no word of a lie, the happiest night of my life."

It was snowing in Brooklyn last January, a neat analogy for the blizzard of emotions the genial popsessive was filled with after completing his live duties. Housebound, satiated and raring to write again, he settled down with his favourite films and vowed to write a song a day for his forthcoming third album. "I knew I wanted to call it Choreography and thought about what it was that interested me about it; the unison, how dance makes you feel." He watched Flashdance, Footloose, easy starting points. "I thought about dancing being banned in New York and about how good it makes you feel. I thought about choreographing my life in London and New York. I DJ a lot, my job is to make people dance and I love watching people dance. That was important for me for the record."

He engulfed himself in visual imagery. "I watched Big Trouble in Little China, Romy and Michele, obviously, Amelie, A Bout de Soufflé. Loads of films from French New Wave to 80s cheese, independent shorts to blockbusters and picked out moments that made me happy and made me think."

The unusual starting point for all this inspiration was Kim Cattrall's dance sequence in Mannequin, the jump-off point for album highpoint, Symmetry Two Hearts. "I wanted to feel as cool as her." This is game talk from a proper 21st century pop idol. His Jake Shears duet, the scorchingly sensual Kiss For Kiss was inspired by another unlikely filmic reference. "You know the bit in Alien: Resurrection where Sigourney Weaver is writhing in that pit of aliens? That's what I wanted it to feel like." It's an unsurprisingly physical song. If you are spotting an ongoing thread to the references here, you might like to bracket them under the umbrella 'intelligent camp.' Rod wouldn't argue with you. "There's much more humour and honesty and my own personal energy to this record. There are camp touches to backing vocals, references to Little Shop of Horrors."

There is a serious point beneath all this showmanship and Hollywood glitz. Rod Thomas opened his pop hand almost a decade ago, when as a London subway busker he was signed temporarily to Elton's management
company. At the time, due mostly to circumstance ("I couldn't afford
to buy the equipment I needed to make electronic music") and something
voguish in the air, he fell uncomfortably into the lineage of the new
folk denizens, the Lauras, Noahs and even the nascent (gulp) Mumfords.
"I even recorded a song on a Ukelele," he notes. This was categorically not a place Rod wanted to be. "It was very of a time. I do remember feeling that I didn't want to be vocal about being gay in that world, partly because it didn't really seem to be present, at all, in it. There's a gorgeous freedom to pop music. I wanted to feel that."

Rod underwent a seismic career change, lifting his new name Bright Light Bright Light from another childhood film reference, Gremlins. "I got really fucking bored of being this sad guy who plays a guitar singing about broken hearts. I'm not that person. I can be ridiculous. I do want to make pop music. I couldn't work out how to translate the absurd side of my personality in folk." On Choreography, he makes peace with his great personal and musical shift. The opening single is All In The Name, his most balls-out 3.30minute pop moment yet. The lyric centres around the constant need for approval on social media, something the feels familiar to Rod having tried to fit in musically. "It's a take on how people go absolutely out of their way to be absolutely adored by everyone," he says, "The lyrics are piqued, delivered from somebody who is desperate to do that." The one strike stick of the chorus is emboldened by all the album's collaborators joining in for the ride. He may be a singular man, but Rod is fond of a bit of group therapy. This kaleidoscopic DIY approach feels fresh
and unforced, a proper free-for-all under his unique and pleasing
orchestration.

Which brings us circuitously to the final cog in Choreography's wheel.
The actual choreographer. Rod was on a visit back to Britain when he
spotted his old touring buddy John Grant sitting in the corner of the
East London restaurant, Hoi Polloi, sitting with a friend. "This guy
said 'are you Bright Light Bright Light?'" he recalls. With a serendipity you couldn't invent, the fan in question was multi TONY, Laurence Olivier and Drama Desk award-winner Steven Hoggett, possibly the most in-demand theatrical choreographer and movement expert working on stage today. Steven was happy to take a tiny break from his schedule working on the forthcoming Harry Potter play to take up the role of the Bob Fosse to Rod's Liza Minelli, to turn Choreography into a full dance escapade.

"He's a smart guy, with killer tunes," says Steven of Rod. "He mentioned he wanted to call the album Choreography and to have a video concept across all the single releases. We met in New York a couple of times and decided to go guerrilla and shoot three videos in four days. He had a tonne of ideas and had a great time referencing a load of shapes from 80s and 90s videos. There are a lot to spot if you're into that kind of thing." Rod finally got to unleash his inner Jane Jackson. "He inspired me no end. I love the guy and he worked his ass off in an environment he had no previous in. I could bang on about him forever."

This was about more than just creating arresting imagery and a dynamic backdrop to Bright Light Bright Light's best record yet. It was about
Rod Thomas allowing himself to be just that, in all his glorious extremes. It was about fulfilling his proper potential, entirely on his own terms. "Carrying on with how amazing this whole process has been of making the record," he says, "Steven was the icing on the cake. I was kind of terrified that I'd be really shit at dancing. I had to up my game and use my brain in a very different way. This is exactly what the whole album has been about. Each new album should be a new challenge. With this one, for the first time I got to make the album exactly as I wanted to, shoot the videos exactly as I wanted them, with exactly the people I wanted to work with. How brilliant is that?"

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CHELSEA SHAG
Born and raised in Nova Scotia, Canada, Chelsea moved to Atlanta in 1996 where she developed the soul of the Southeast that can be heard in her music. After studying jazz guitar at the Atlanta Institute of Music, Chelsea began winning hearts performing throughout Atlanta and breaking through the feminine clichés. At only 24 years old, Chelsea is reinventing the image of females in music through her display of strong and unique songwriting and a complex but catchy guitar style that she has been developing since the age of 11. With her unique style and intricate look, she creates her music to inspire and build a world where all people can feel safe to create and love just as she does so fiercely.

Saturday June 24 @ Drunken Unicorn | 736 Ponce de Leon Ave NE  
736 Ponce De Leon Ave
BOOGARINS
9pm | $12 | 18+
Boogarins' Fernando "Dino" Almeida and Benke Ferraz began playing music together as teenagers in the central Brazilian city of Goiânia- recording psychedelic pop in their parents' gardens, filtering their country's rich musical history through a very modern lens. The group's debut LP, As Plantas Que Curam, was a decidedly lo-fi home recording pieced together in isolation, before the pair had recruited a proper rhythm section or played a single gig. By the time the album was released in late 2013 on Other Music Recording Co., Boogarins were already developing a name around Goiânia, and soon after, the now-expanded band was booking regular gigs in São Paulo and across the country. The last two years have seen Boogarins on the road continually - they toured internationally for nearly six months behind their debut, playing American and European festivals from Austin Psych Fest to Burgerama to Primavera, and headlining clubs from London to Paris to Barcelona to New York, and performing alongside many great artists around the world. Back home, where most young groups sing in English like the popular American and British indie bands everyone listens to, Boogarins spoke directly to their Brazilian audience - literally and figuratively - with their Portuguese-sung rock and roll rooted in the traditions of Tropicalismo but nurtured in contemporary global music culture. Without any proper label support or PR in their own homeland, As Plantas Que Curam crossed into broader consciousness in Brazil, topping many fan and critic lists, with the group dubbed 'Best New Artist' in mainstream outlets like Rolling Stone Brazil and on powerhouse GloboTV's annual music awards show, and becoming a major live draw across the country.

In the midst of their 2014 European spring tour, Boogarins made a two-week detour to Jorge Explosion's Estudio Circo Perrotti in Gijón, Spain, where they laid down a bulk of the tracking for what was to become Manual. Recorded to tape, the sessions caught a thrilling live band in peak form after months on the road. The group then took the recordings back to Brazil, and for several months, between regular concert dates around South America, they completed the album in Benke's home studio, adding two new songs and layers of sound and overdubs that tied the new full-band recordings to the feel of their beloved debut. While the resulting new album is undeniably Boogarins, Manual veers into far more complex musical territory, propelled by Dino and Benke's dense, two-guitar interplay and an abundance of deep rhythms. As well, the songwriting here is more personal and socially conscious than their debut, all the while we find the band broadening their collective vision.

In yet another country greatly divided by class, where incredible wealth, conspicuous consumption and global business culture butt up against favelas and brutal poverty, the 2014 Brazil World Cup brought huge and much-needed infrastructure investment with it. Instead of uplifting the local communities, however, entire neighborhoods were pushed aside as huge developments and glassy hotels went up on beaches and in areas long-established as working-class economic and social hubs, with many losing their homes or businesses. Like millions of Brazilians including their own family and friends affected by this snowballing inequality, it deeply resonated with Boogarins, and it's reflected throughout the new record. During album-opener "Avalanche," Dino wishes his lone voice could shake down mountains and crush the politics of greed, singing, "My cries have the strength to knock down all of the buildings/they will not let me see the sun."

Manual has the same dual meanings in Portuguese and English: "to work with your hands" and "an instruction book." With the full title being Manual, ou guia livre de dissolução dos sonhos (Manual, or free guide to the dissolution of dreams), the album should more so be viewed as a sort of diary or dream journal. The artwork, by artist Nei Caetano da Silva (taken from a sketchbook in which he used to draw with his children), perfectly represents the mood of the music: deeply personal, emotional, free-flowing and in the moment, tying together thoughts and dreams. Reflecting on Boogarins' epic journey over the last few years, during album centerpiece "Falsa Folha de Rosto" Dino sings, "viver virou sonhar" (living became dreaming). Yes, Boogarins' new LP does indeed offer a free ride to the dissolution of your dreams.

Saturday July 8 @ Drunken Unicorn | 736 Ponce De Leon Ave  
A. Rippin Prodictions + Tight Bros present:
COBALT
Old Thrones
Earthling
Aseethe
9pm | $10-12 | 18+
Colorado's COBALT, over the years and since they began working with Profound Lore Records with 2007's landmark "Eater Of Birds" album, have become recognized as one of the most singular and defining extreme American metal bands today. Their 2009 album "Gin" is recognized as a pillar in American extreme metal, a milestone album of literature-influenced progressive apocalyptic wasteland metal that took the American metal scene by storm and landed on pretty much all best-of year end lists the year it came out.

Now almost exactly seven years since the release of "Gin", COBALT (now defined as the duo of multi-instrumentalist/mastermind Erik Wunder and new vocalist Charlie Fell, ex-LORD MANTIS) are poised to releases one of the most anticipated metal releases of 2016, their long-awaited new double album "Slow Forever"

"Slow Forever" sees COBALT, after years dealing with personal turbulence, tragedy, contemplation, and even confusion, return triumphant and focused as ever. With Wunder formulating their sound that naturally takes off where "Gin" left off and new vocalist Fell bringing a new character and sense of savagery and violence that's synonymous with the COBALT sound, "Slow Forever" is another epic offering from the COBALT cannon destined to hammer down and make its notable impact as one of the most defining metal albums to be released in 2016.
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Old Thrones
Blackened metal from Atlanta, Georgia.
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Earthling
Earthling began in the early 2009 as a project between Harrisonburg VA natives Alan Fary (Guitar/Vox) & Brently Hilliard (Drums). After several short lived line-ups the band solidified with Praveen Chhetri (guitar) & Jordan Brunk (bass). Having released two three song demos, a 7″ split and Extensive touring of the DIY circuit of the area, the band has crafted a crusty black thrashing heavy metal sound drawing influence from across the spectrum of heavy music.
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Aseethe
Aseethe, the doom trio of Brian Barr (guitar, vocals, synth), Eric Diercks (drums, samples), and Danny Barr (bass, vocals), has a singular emphasis on crushing doom that utilizes space and repetition, taking a tip from drone music. The band is working on a new album for release in 2017.

Since Aseethe's inception, the band has been a favorite of other musicians and toured/shared bills with the likes of The Body, Northless, Inter Arma, Thou, and Bell Witch, and they'll be playing Midnite Communion IV in November with Cough, Hell, Destroy Judas, and Funerary, to name a few. Aseethe was recently picked up by Hexagram Booking and is working on a fall tour around Midnite Communion IV. Aseethe has released splits with Ghaust, Shores of the Tundra, and Mauul; Reverent Burden, a 12-inch; Red Horizon, a 12-inch that was a reworking of a Barn Owl track; the improvisational album Burdens II, and the EP Nothing Left, Nothing Gained.


Monday July 24 @ Drunken UNicorn | 736 Ponce De Leon Ave  
ATL KVLT presents
INSTITUTE
Uniform (ATL)
Glare
9pm | All Ages | $8
Politically speaking, not much has changed about the way Institute exists as a band since signing to Sacred Bones. Having members in Glue, Wiccans, and Back to Back, all fellow stalwarts of the Texas punk scene, helps streamline the approach for them, as all of their bands operate from the same basic ethos. In fact, singer Moses Brown has said they're only comfortable being on Sacred Bones because he considers the label "a punk label on steroids." (A note from the label--"Drugs, yes. Steroids, usually no.")

After demoing for several weeks at home in Austin, the anarcho punk band Institute tracked and mixed Catharsis in just four days between Christmas and New Year's Eve 2014, in New York City with Ben Greenberg at Brooklyn's Gary's Electric. "Cheerlessness" carves out the perfect trine foundation to aspect both the anthemic "Cheaptime Morals" and the much looser jam "Christian Right" (the latter featuring fellow Texan Andrew Savage of Parquet Courts). Issues of morality, sexuality and religion are all interwoven seamlessly throughout the 10 tracks as the band explores new sonic astral space.


Wednesday September 6 @ Variety Playhouse | 1099 Euclid Ave NE
Atlanta, GA 30307
 
Triple D's & Tight Bros present:
THEE OH SEES
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.

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

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