Posts Tagged ‘ The Coathangers ’

More details about this weekend’s Wells St Warehouse Beach Party…

Looks fun.  More details and the full lineup here.


Live review: The Goat Farm festival



The N.E.C.

Saturday’s festival at The Goat Farm was a great time and a nice representation of the Atlanta music scene I’ve come to know and love in the 13 months since I moved to this city.  The festival itself was also one of the most well run DIY events I’ve ever been to.  It’s hard to find anything wrong with a free event that features 15 bands, free beer, cheap food, and a generous BYOB policy.

As for the music, I’m glad I finally caught All the Saints.  They gave probably my favorite performance of the festival.  I’m also glad I stuck around for Atlas Sound.  I respect Bradford Cox and see why his music appeals to so many people, but I’d never really connected with either Deerhunter or Atlas Sound until Saturday night.  He blew me away.  It was the “eureka!” moment I’ve looked for both times I’ve seen Deerhunter live and every time either of his projects puts out a new record.  I think it’s time to give his body of work another shot.

I’ve written about most of the other bands that played before, and I’m sure I’ll write about many of them again in the future, so I don’t feel the need to go into too much detail.  Most of my favorites delivered:  Lyonnais, Mermaids, Hawks, This Piano Plays Itself.  The Coathangers might have drunkenly whiffed it, but they were down a member anyway.  If Saturday was the only time you’ve seen them, give them another chance.  Sole out-of-towners TV Torso played solid tunes that sounded like classic ’90s indie rock.  Abby Go Go has sounded better and better lately.

That’s pretty much it.  More pictures after the jump.

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live review: JEFF the Brotherhood, The Coathangers, Heavy Cream @ 529

[EDIT:  This review was shared with Dead Journalist and can also be found here.]

The B.o.B. show at Center Stage wrapped up before 10:30, so I had plenty of time to get over to 529 for the stacked line up of JEFF the Brotherhood, The Coathangers, and Heavy Cream (I missed WYMYNS PRYSYN).

Nashville’s Heavy Cream plays aggressive, catchy punk anchored by an intense frontwoman who looks like Mia Farrow in Rosemary’s Baby, but wails like Glenn Danzig on Walk Among Us. It’s awesome.

Atlanta locals The Coathangers took the stage next. This was the seventh time I’ve seen them play in 2010, and the setlist has been more or less the same every time. It’s a testament to how strong a live band they are that I’ve never been bored once. If you’ve only heard the albums, you really ought to see them live to get the whole picture. The songs are more raucous live, and they’re remarkably tight for a band that’s been learning on the fly since they got together a few years ago. They start shuffling around instruments about 3/4 of the way through their set, giving drummer Stephanie a chance to come out from behind her kit and go wild for “Cheap Cheap.” Guitarist Julia then gets the same opportunity on “Don’t Touch My Shit,” putting down the guitar because one more instrument would just be overkill anyway. They usually close the set with that, because where do you go from there?

JEFF the Brotherhood (also from Nashville) headlined. The band, which is made up of brothers Jamin and Jake Orrall, has improbably become the most interesting project associated with disbanded Nashville band Be Your Own Pet. When drummer Jamin left BYOP a few years ago to play in JEFF with his singer/guitarist brother Jake, it seemed like a bad career move. BYOP had the critics, Thurston Moore, and overseas audiences in their pocket, and Jamin left to play weirdo punk in the basement with his brother. They gained an audience both in Nashville and out on the DIY circuit, though, and now BYOP has broken up and JEFF is a legitimately emerging indie band in their own right. It helps that last year’s Heavy Days is their most accessible (and best) release to date, but much of their success has got to be due to what a fantastic live band they are.

JEFF’s sound is a combination of catchy stoner riffs, krauty jams, and faux-dumb lyrics that sound like an absurdist take on the early Ramones records. This stuff is made for sweaty basements and tiny rock clubs. On Saturday night, 529 was about as active as I’ve ever seen it. Heavy Cream and The Coathangers had strong receptions, but people started losing their shit over JEFF. Nearly everyone was moving, and there were more than a few crowd surfers.

The final song found the brothers locking into an krautrock rhythm while Jake moved out through the crowd and into the adjoining bar room. He nonchalantly played from atop the bar for awhile before deciding to make his way back to the stage, keeping the groove the entire time. Once he was back on stage, things got heavy again, and those that were still left at 2AM responded appropriately.

JEFF won’t be in venues this small for very much longer. Seek them out while you still have the chance.

Plenty of good shows this week

No more monthly show calendars. Too many changes and omissions that I don’t notice until it’s too late. I might start doing weekly previews, or I might just put up a preview when there’s something I’m particularly excited about. There’s a lot going on this week, so I figured it was worth a post.

-529 has an promising bill tomorrow night. Popular locals Carnivores headline, with intriguing support in the form of Brooklyn’s Dinosaur Feathers and Raleigh’s Lonnie Walker. I had mixed feelings about the last Carnivores set I saw, but I generally like the band and know they’re capable of better. And the openers sweeten the deal considerably.

-There’s a couple of solid options on Thursday. King Congregation plays a free show at Star Bar, while Young Orchids play The Earl with support from Chattanooga’s Moonlight Bride. King Congregation is pretty raw, Moonlight Bride is polished.  Young Orchids are somewhere in between.  Make your decision accordingly.

-Friday’s best option is Thomas Function at Star Bar. They’re exactly the kind of punky, hooky, bullshit-free garage rock that sounds right at home on Star Bar’s stage.

-Saturday has the unbeatable lineup of JEFF the Brotherhood, The Coathangers, and Heavy Cream at 529 (WYMYNS PRYSYN plays, too, but I can’t vouch for them as I haven’t heard ’em). Batusis, featuring punk/proto-punk lifers Sylvain Sylvain (New York Dolls) and Cheetah Chrome (Dead Boys, Rocket From the Tombs), should be great at The Earl, too, but you can catch them at Criminal Records for free earlier that afternoon. Attention System plays a free in-store at Criminal on Saturday as well – they play at 4, Batusis at 5.

Boris plays the Masquerade on Sunday. Russian Circles open. Boris is probably one of my 2 or 3 favorite active bands, so I’m kind of cranky that I’ll be out of town for this one. If you’re in town and have even a passing interest in either heavy or experimental music, you have no excuse for missing this.

new 7″s from The Coathangers and Gentleman Jesse (reviews)

Last week was a good one for local vinyl. The Coathangers put out a remix 7” on Suicide Squeeze, and Gentleman Jesse and His Men played a release show for the first ever Live at the Earl 7”. Thoughts on both releases below.

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Creative Loafing Music Issue + Party @ Star Bar


Last week, Creative Loafing put out their first ever all-music issue. It was mostly good. The Cabbagetown oral history and making of Aquemini pieces were both very well done, and the photo essay was nice. But some of the interviews/conversations went nowhere. The Bradford Cox interview was probably the most egregious example – Cox spent most of the time resisting the subject he was ostensibly being interviewed about and trying to distance himself from both the current and former Atlanta music scenes. He’s always an interesting subject, but the packaging seemed disingenuous. It didn’t mesh with the themes of the rest of the issue, but it was dressed up like it did anyway. At least it was more substantial than the Gentleman Jesse/Coco conversation, which was amusing but slight, and the Frobos/Lopez one, which didn’t even manage to be amusing.

Those minor quibbles aside, I think it was a solid issue and a good effort, and the show they threw to celebrate was a blast. Star Bar’s a great place for a party, and the lineup was a strong representation of the local indie scene.

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Howlies are playing lots of new songs

Howlies are doing it right. They played 7 new songs last night at the Earl, opening with 6 of them. At least one had never been played live before. I recognized a few of the new ones from the show they played at 529 back in February where they also played a ton of new material, but at that show the new/old material was split about evenly. Last night, they only played four tracks from Trippin’ With Howlies, the debut album they released a little over a year ago. It’s crazy to think that they’re already moving on to new material. Most bands in their position would tour hard behind their debut and not focus on new songs for awhile, especially when that debut isn’t some half-assed collection of 7”s or glorified basement demos. Trippin’ With Howlies sounds great (much has been written about how they got Kim Fowley to produce the thing) and it seems representative of who they are as a band. So it’s strange that they’re moving on so quickly. Gentleman Jesse’s set opening for Ted Leo last weekend (which I swear I’m going to write about later today) consisted mostly of songs from his 2008 debut. The Coathangers stuck almost exclusively to songs from the year old Scramble at 529 on Tuesday. It’s not uncommon and it’s totally understandable for bands to do this.

So it’s a surprise that Howlies are already so focused on new material, but it’s not a bad surprise. I think it sounds pretty great. It’s more like “Chimera” and “Angeline” than “Sea Level” and “Whiskey Night,” but that’s the side of the band I preferred anyway. How much you like the new songs will probably depend on which camp you fall into. My companion at last night’s show (who will likely be contributing here in the near future) is in the latter camp, and she was less impressed with the new ones.

They’re already recording the album, and if they’re playing this much of it live, I’m assuming (and hoping) it will be out by the end of the year.